The post Neighbourhood Tower Channeling Darkness (Discovering the Light) Review appeared first on Edgar Allan Poets – Noir Rock Band.

Blind Channel have joined forces with Of Mice & Men’s Aaron Pauley for ‘Into The Void’, the last taster of their upcoming album ‘Painstream’.

The song itself feels like home for both artists. A pummelling, atmospheric, gripping piece of driving modern metal that leaps and soars with effortless abandon. Serving as a tribute to both band’s legacies whilst pushing forward with pride and power, it is a banger in every sense.

The band had this to say about it:

“‘Into The Void’ is our final standalone single from the upcoming Painstream album before the whole thing drops. The song was inspired by the Fermi Paradox and the Wow! signal. If Earth really is the only place in the universe where life exists, we’re not exactly doing a great job of sustaining it.

“Aaron from Of Mice & Men jumped aboard for this one and made sure the moshpits will suck people in like black holes.”

Whilst Aaron added:

“I’m honored to feature on this track – it’s an absolute banger! Had a lot of fun working on it & I’m excited for the world to hear it.”

‘Painstream’ will be released on October 30 via Century Media Records.

Here is ‘Stars We See’, which will also feature on the record:

The post Blind Channel Team Up With Of Mice & Men’s Aaron Pauley On ‘Into The Void’ appeared first on Rock Sound.

Sweet .

The post Sweet featuring guitarist Andy Scott to release live album ‘Live 25’ on October 23rd first appeared on Sleaze Roxx.

Ice Nine Kills have announced that they are releasing a very special EP titled ‘A Very Vicious Christmas’.

It will be released on November 09, and comprises INKed-up versions of Festive classics that can currently be heard as part of the Art The Clown-themed Terror Tram making its way around Universal’s Halloween Horror Nights this spooky season, including ‘Joy To The World’.

You can pre-save it right here.

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The band confirmed the news of ‘A Very Vicious Christmas’ at their own horror convention, Silver Scream Con V, where the band also revealed that their new album ‘The Silver Scream 3: Every Flick In The Book’ will be coming in 2027.

It is all happening.

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The post Ice Nine Kills Announce New EP ‘A Very Vicious Christmas’ appeared first on Rock Sound.

 Emerging from the New Orleans underground, four-piece glitter grunge band Swinging Astrid is currently making waves in the Gulf South alternative scene. Composed of drummer Rob Florence, lead guitarist Jess Araten, bassist Molly Thornton, and lead vocalist/rhythm guitarist Madeline Usher, their group fuses grunge, shoegaze, and indie rock into something that’s equal parts volcanic, tender, and visceral.

Their killer single “Space Cadet Blues” is pure, unfiltered alternative rock perfection. The track builds up with slick, moody verses before tearing the walls down with an angry, explosive chorus that hits right in the gut. With crisp, heavy-hitting production and massive dynamic swings, it’s a total banger from the very first second to the final feedback loop.

Give it a go by clicking on the Spotify player below and follow Swinging Astrid if you like what you hear.

Posted on October 5th 2026, 11:50am

Posted on October 5th 2026, 11:28am

The Billy Walton Band, one of Southern New Jersey’s most dynamic, popular live acts since 2007, have released their exciting guitar/horn-driven rockin’ new single, ‘Fool For Your Crazy‘. The up-tempo track can be found on the group’s forthcoming album, ‘Line ‘Em Up‘, released on Friday, November 6th. The group heads to the UK this fall […]

The post Billy Walton Band Release New Single ‘Fool For Your Crazy’ appeared first on ROCKPOSER DOT COM.

Godflesh is pain. Regardless of whether Justin Broadrick and G.C. Green are plumbing the industrial depths they invented on their earliest records or hitting harder with danceable grooves and beats, this band is an expression of pain. Broadrick himself admits as such, stating that this pain is usually of the “mental, philosophical and existential” variety, but recent years added physical pain to the mix in the form of a hernia that was largely the result of decades of shouting and roaring and bellowing along to his band’s apocalyptic music.

Decay might be the ultimate expression of Broadrick’s all-encompassing pain. It’s the bleakest, darkest, and outright most harrowing record the duo has delivered since Streetcleaner. It’s not an album you enjoy so much as experience, and the experience is spiritually and emotionally flattening.

However, this new album is not brand new. It was recorded during the same sessions as Godflesh’s last proper full length album Purge, with final touches made more recently. But beyond coming from the same sessions, Purge and Decay could not be more different. Whereas Purge is a hip hop-infused industrial dance party, Decay largely eschews that side of the band that moves asses. It’s either wildly experimental (the colossal bookending tracks) or a really corrupted take on the band’s established thumps and beats. Further, Broadrick’s traditional Godflesh roar is used sparingly, sometimes replaced by his airy singing, but other times he employs deeply distorted, inhuman vocals to great, disturbing effect. It all adds up to one overwhelming message: there is no solace, no light, and no comfort.

That is especially true of those bookending tracks, which together make up almost half of the album’s 42-minute runtime. “Master and Slave” opens the record up with nearly nine minutes of corrosive heft, as guitars and programmed drums hammer the listener relentlessly with nary a sign of hook or melody. Synths do add both space and tension, as certain passages veer close to post metal and shoegaze, but the song never becomes catchy or even particularly comfortable, a trait furthered by the barely recognizable vocals. It’s an exhaustive track that makes a bit of a rough first impression – it was an odd choice for a single – but as the album begins to sink in, it reveals itself to be both a fitting opener and engrossing piece of music in its way.

The middle of the album is comprised of four tracks that, while closer to Purge in style, still veer towards Godflesh’s darkest tendencies. Riffs are blunt (and monstrously heavy), the bass and programmed drums are relentless in their pummeling, and vocals, even when clean, do more haunting than soothing. Sure, you can kinda dance along to “Living/Ending” – Green’s bass is almost daring you to do so – but it’s only about as fit for a club floor as “Like Rats.” Not exactly discotheque material. Elsewhere, “Fear of Man” employs synths and monolithic riffs to create a mood that is as damning as it is oddly inviting, a trait that could describe each of the four center songs.

But according to Broadrick himself, it’s the bookends that really constitute the thematic meat of the album. While “Master and Slave” sets the scene and casts a shadow over the album’s middle songs, “Consume Me” closes it with nearly 12 minutes of pure no wave hell. The song’s first half is defined by deep guttural bellows, riffs that aren’t so much riffs as they are mechanical clangs, a drum machine that refuses to give into a consistent beat, and passages of droning noise. Up to that point, the song is horrifying, but the second half might be the scariest piece of music Godflesh has ever put to tape. For one, it’s preposterously heavy, even for Godflesh, and the vocals are among the most distorted and corrupted on the entire record. Broadrick’s repeated scream of “Consume me / become me” is accompanied by music that devolves and distorts and generally decays until all that is left is a horrifying expanse. No real resolution, just the terrified memory of what you just experienced. It’s one of those songs and records that you really don’t feel like following with anything else. Silence works best so you can recover.

Broadrick has already stated that Decay is the penultimate Godflesh record. One more and they’re done. After bingeing on this record for the last week, I find it hard to fathom where he and Green will go from here. Yes, Decay is technically made up of session leftovers, but it feels like a last gasp of desperation and pain, like a final statement from a band that hasn’t needed to make a statement in decades. The middle songs are a distillation of everything that has made Godflesh’s darkest moments great, whereas the lengthy bookends see the band free of constraints and exploring in a way they haven’t in ages.

It’s a glorious combination that results in a pretty great album, one that I dare say is essential listening for Godflesh fans, especially for those that cling to the self-titled EP and Streetcleaner as their favorites. Like those early releases, Decay is frequently miserable in a rather captivating way, and isn’t that why we’re all here?

The post Godflesh – Decay Review appeared first on Last Rites.

Protomartyr formed in Detroit, Michigan, in 2010, growing out of the local punk scene that had already brought guitarist Greg Ahee, drummer Alex Leonard and bassist Scott Davidson together in the band Butt Babies. Vocalist Joe Casey, who had never fronted a band before, joined Ahee and Leonard in an early version of Protomartyr, with Tyvek’s Kevin Boyer briefly involved on bass before Davidson settled into the lineup. The core quartet of Casey, Ahee, Davidson and Leonard became the foundation of a sound that draws from post-punk, garage rock, noise rock and Detroit’s long tradition of abrasive, unvarnished guitar music.

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