Category: news
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2027’s Biggest Music Festivals and Cruises
A slew of huge acts have confirmed appearances, with many more to come. Continue reading… -
WATCH: Turnstile Play To 60,000 People At Washington Monument
Turnstile made even more history with a performance in the heart of the capital of the USA that defied all expectations.
The band announced two weeks ago their intention to play the free show at the Washington Monument to aid Palestine, Sudan and Lebanon, and the result of such a declaration was utter chaos.
Delivering their usual incendiary, varied and euphoric set, an estimated 60,000 people put their bodies on the line, crowdsurfing, pit-spinning and throwing down.
A truly powerful and poignant display in the shadow of the White House, it’s the sort of moment that is instantly stamped not just into hardcore history, but into musical history as a whole.
You can check out fan-shot footage of the whole performance below, lovingly compiled by @gloss, below. It is so special.The post WATCH: Turnstile Play To 60,000 People At Washington Monument appeared first on Rock Sound.
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Reviews: Wolves In The Throne Room, Boss Keloid, Leng Tch’e, Earthbong (Matt Bladen & Mark Young)
Wolves In The Throne Room – Estuary (Century Media) [Matt Bladen]
It’s been more than 20 years since Wolves In The Throne Room first emerged from the United States bringing about a new wave of black metal.
They call it ‘Cascadian Black Metal’ cinematic and explorative, they have never been a band to rest on their laurels, netiher have they been afraid of composing and performing heretical black metal in a country that often goes overboard with it’s religious zeal for the Bible.
I would think this is perhaps why WITTR are more respected and celebrated in Europe. With an incredible live show, that consumes you, their albums are always musical journeys though multiple genres, they are often conceptual, always evocative and unwaiveringly brilliant if you’re a fan of extreme metal with intelligence.
Their latest album Estuary, looks to be another exemplary offering from this blackened coven, recorded with analogue equipment, with the full skill of this veteran band, they lend and ear to nature yet again, it’s always been at the heart of what they do, the unyielding power of nature.
On Estuary we have a concept that takes place “1,000 years in the future, after the death of civilization” and how by nature reclaiming the Earth, full peace and tranquility can be reached, it’s got huge whacks of sci-fi in the story with the balance between the the synthetic and the organic.
A duality that is explored musically on the record. The blasts of frigid black metal, are rawer and carry a savagery that WITTR have increased for Estuary, the title track bringing intensity from its opening moments, dramatic and intense it builds towards the end with a kind of catharsis that takes us into the rest of the record.
On the other side, this tenacity and ferocity shifts through the ambience and atmospheres of forests, rain and sunlight, natural elements that are reflected by the Gothic overtones and industrial dissonance on Knights Of Tiamat, exploring numerous musical styles against the black metal intensity.
The intensity comes from the twin guitar prowess of Nathan Weaver and Kody Keyworth who also share vocals for more dichotomy, as Aaron Weaver provides the devastating percussion barrage, the synths (The Orca Cliffs) and even some spoken word, when the storytelling needs it.
Touring bassist Galen Baudhuin plays bass in the studio for the first time, adding a bottom end rumble to the epic Foretold In Reflections. Estuary comes to and end with two of its finest moments, the massive Ghosts Among The Obelisks shifts numerous times in pace, speed and style while Wretched Spirits, Land Of Light, caps off the magnificent Estuary record with a track that has black meeting classic metal.
Wolves In The Throne Room rarely do anything wrong, and with album number 8 they stay at the summit of the USBM scene. 9/10
Boss Keloid – Float & Aperture (Church Road Records) [Matt Bladen]
Boss Keloid are band steeped in magic, a band that truly defines the idea of the progressive side of prog rock, no two of their albums are ever the same but they are always undeniably Boss Keloid.
It’s a neat trick and one that many bands would absolutely fail to replicate, but like I said Boss Keloid are magic, and they are able to move from a intense record such as Family The Smiling Thrush into Float & Aperture which is an album that has garage rock, jazz and even flamenco as inspiration on the expansive, storytelling of Landslide.
Landslide is one of the track out in the run up to this record and it’s the perfect showcase of Boss Keloid’s experimental sound, moving to the out reaches of what a band like Baroness would do, all clean guitar harmonies and gritty vocals from Alex Hurst who is the interpreter of these tales of resilience, going full Tom Waitts on Aros.
Pedestal, which precedes it, puts odd signatures with psychedelic riffs and guitar sound that makes me think of Mahavishnu Orchestra, but it’s all part of the Boss Keloid sound, keeping you guessing, retaining their musical dexterity through each record by never rehashing anything they’ve done.
On Float & Aperture they cultivated a more collaborative writing culture than before letting the entire bands influences bleed into the songwriting, which means that these tracks can take numerous paths, as they bring their heaviness to Weight, before again taking off into sprawling Middle Eastern inspired melodies and funk riffs.
The guitar interplay between Paul Swarbrick and Hurst is on another level, counter-pointed and collaborative at the same time, it’s a panoramic palette of pedalboards and virtuosity but the impact of it would be much less if it wasn’t for the interesting and serpentine bass Liam Pendlebury-Green and the intuitive, expressive and progressive drums and percussion from Ste Arands.
Float & Aperture is the more blissful and illusory side of Boss Keloid, foregoing heaviness of their sludge beginnings for wanderings through world music and the sonic experimentation of bands such as King Crimson, magic from start to finish. Let go of musical inhibitions and embrace Boss Keloid. 9/10
Leng Tch’e – Hammered Into Collapse (Season Of Mist) [Mark Young]
Well, I think that Leng Tch’e have released the crowning definition of a short, sharp shock with their two track single Hammered Into Collapse. The songs represent their first new music since 2017’s Razorgrind and it sees the Belgium outfit taking no prisoners.
Hammered Into Collapse is just brutal, there’s not really a lot more I can give you. It says that this is for fans of Napalm Death, Aborted to name two outfits but based on how this drops into view its for anyone who tells you they love extreme metal. I don’t know anything of their previous releases and I’m not going to pretend that I do but based on this one song, I want to know more.
When its running, its fast, throwing pelters at you non-stop. When it slows, its massive, crushing you under foot. In either case it is a stunning piece of work, one that wraps up in two minutes. And then they hit you with Voided. This fires like a chain-gun, its glorious in the fact its prime directive is to smash. Voided avoids repeating the same trick as Hammered, it remembers that it needs to change tack ever so slightly, but only slightly.
There is something about heavy music, especially no fucks given, fire breathing heavy music that just gladdens my soul. There isn’t any airs or graces to this, no pretence just pure blissful noise. And that’s that. Two songs, 5 minutes if that. And its probably 5 of the best minutes you will spend listening to music this year. 8/10
Earthbong – Salutations To the Cultivators (Lasting Dose Records/Evil Noise Recordings) [Mark Young]
Blessed are the Cheesemakers…hang on, wrong place. Earthbong have popped up with what can be described as an album that one may (or may not) imbibe certain things to. 4 songs, 39 minutes, which should tell you all you need to know what is coming your way. This is their 4th album,
Bug is a ten minute, lumbering monster that brings you a sound so thick, so dense it anesthetises you during its unspooling. Its not the quickest, but they somehow manage to slow this down to an anguished crawl before they pick it back up again.Doom can be hit or miss; with Bug they use every available second to make it as interesting for the listener as they can. Its not short of tempo changes, and that super thick sound is ever present, carrying over onto Third Eye, its bass driving it in a descending move whilst Roy Batty’s words play out over it.In all honesty, they could have welded these two together and just had it run as one song. This one brings more to the table, the sound expanding with short, ragged lead stabs that quickly come and go. The final two minutes are exemplary in how they gradually ramp up without dramatically altering how the song has ran.
Harvester starts in a more restrained and melancholic manner, a guitar line that is sublime whilst the drums do the heavy lifting in propelling this song along. That is one constant here, the drums have been a masterclass on this as is their sound. The transition at about 2 or so minutes from one approach to that full throated all encompassing sound is spot on as it is effortless on their part to move between them.It’s easy to dismiss doom as being one riff repeated over and over and its just not the case. Harvester is an example of how a morose piece of music can also move you in its own way. Of course, they do give in to the basic form of doom on Herbal Saints, their 15 minute climax.As the start of Harvester was (in comparison) soft with smooth edges, Herbal Saints dials that black cloak of sound back in and then just run with it. The opening 3 minutes stakes out the fact that they can bring the riffola at will and then put the brakes on for the main body of the song.Those drums are central again to the success of this (and the 4 songs as a whole), they provide the foundation from which everything else comes from (Step forward Tommy!!). We shouldn’t take anything away from Selly, the vocals on this are abrasive, guttural and the bass, combined with Ogo’s guitar sound make this such a great listen.Herbal Saints runs out, gradually reducing in potency and moving towards that sorrowful approach again. They don’t use the length as a means of repetition, the latter moments ebb and flow and close out what is a prime slab of doom. 8/10 -
CROOKS Announce UK/EU Headline Tour
CROOKS have announced that they are heading out on the road, their first set of dates since 2016.
The band released their seminal debut album ‘Are We All The Same Distance Apart’ back in 2015 before hitting the road to tour it the following year. They have since been inactive.
So, this is very exciting news, indeed.
Here are the dates the band will be playing:
APRIL 202722 – APRIL Gebäude 9
24 – BERLIN Cassiopiea
25 – PRAGUE CROSS
27 – VIENNA Flex
29 – MILAN Magnolia
MAY 202701 – MUNICH Rites Of Spring Festival
08 – LONDON Oslo Hackney
And if you need a reason, or a reminder, of just how special this band is, here is ‘Schöne Seele’:
And here is ‘A Few Peaceful Days’:The post CROOKS Announce UK/EU Headline Tour appeared first on Rock Sound.
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cut the cord. blush.
South Florida alternative rock project cut the cord.—the creation of songwriter Dylan Samaniego—is built on one core premise: sometimes the hardest thing you’ll ever do is let go. Born out of a meditation exercise during one of Samaniego’s lowest points, the project tackles the painful process of detaching from toxic people, destructive habits, and bad mental patterns to step into who you’re truly meant to be.Recorded at South Florida’s Boardwalk Studios with producers Jacob Bates (Dirty Rivals) and Bryan Kuznitz (Fame on Fire), cut the cord.‘s debut EP, blush., traces the heavy emotional wake of an unhealthy relationship across four interconnected tracks. The record opens with “(ctc.),” a spoken-word piece recorded by Samaniego’s actual therapist, grounding the entire project in authentic mental health awareness. From there, the EP moves through the raw frustration of the title track “blush.,” the bittersweet nostalgia of “10th Avenue North,” and the cathartic release of “BENT!”The lead title track, “blush.,” stands as the oldest song on the record and a personal favourite of Samaniego’s. Dealing directly with the frustration of an ex-partner who struggled with communication and alcohol, the song vents the helpless feeling of being labeled selfish just for setting boundaries. Fusing the urgent energy of pop-punk and alternative rock with a growth-focused mindset, “blush.” delivers a rock-solid, energetic performance paired with an insanely catchy hook and a very cool accompanying music video. Complemented onstage by stark visuals and hand-painted clothing, cut the cord. offers an emotionally charged, highly enjoyable ride through losing yourself and finally finding your way back. -
ViperSnatch – Sweet Melodies
Central Queensland Riot Grrrl trio ViperSnatch—made up of Lily, Riley, and Kailee—bring a fierce female perspective to the Australian alternative scene, pairing powerful, break-your-heart vocals with explosive punk-rock progressions, expressive basslines, and visceral drumming.
Their scorching single “Sweet Melodies” serves as the lead track off their late 2025 EP BITCH BITE ahead of its wider 2026 release. Opening with a deceptively calm, spoken-word intro before erupting into heavy bass, gritty grunge-driven fury, and soaring vocal hooks, the track channels raw frustration and heartbreak into pure, high-octane energy. Backed by a fantastic band performance and punchy, genre-perfect production, “Sweet Melodies” is a rock-solid, high-energy anthem that hits hard while keeping melody right at the center.
Give it a go by clicking on the Spotify player below and follow ViperSnatch if you like what you hear.
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Complete List Of Chris Young Songs From A to Z
Chris Young became one of country music’s most recognizable baritone voices after winning the fourth season of Nashville Star in 2006. Born in Murfreesboro, Tennessee, he grew up with the traditional sounds of artists such as Keith Whitley and Randy Travis and began performing at an early age. Before his television breakthrough, he financed and sold independent recordings at his concerts, an often-overlooked chapter that helps explain the depth of his early song catalog. After signing with RCA Nashville, Young introduced himself to a wider audience with his self-titled album in 2006. The singles ‘Drinkin’ Me Lonely’ and ‘You’re Gonna
The post Complete List Of Chris Young Songs From A to Z appeared first on ClassicRockHistory.com.
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Lumsk – Einsemda Review
[Cover art by Per Spjøtvold]
Want a fun way to acknowledge your own mortality? Think about how many years you’ve been listening to certain bands or albums. Of course, you, a distinguished devotee of this publication, surely engage in this practice, if only to demonstrate the temporal depth of your sagely wisdom. Math wizards might ALSO note that you can divide number of years listened by number of years lived to get a darling little percentage! You know what else is cute? The longer you stagger on with your silly life, that percentage only rises! Wowie, we are off with a bang here.
I’ve been listening to Lumsk for 23 years, which if you’ve been paying attention correlates to [REDACTED]%. This was a sobering realization. Admittedly my days of avid folk metal-dom are long since passed; I can’t deny spinning Åsmund Frægdegjevar and its stellar follow-up Troll a whole heck of a lot in the late mid to late-2000’s. Waning enthusiasm in the genre (coupled with an overwhelming interest in all avenues non-metallic) led me astray from third record Det vilde kor, and outside of the occasional dip back into their earlier material, Lumsk drifted into the deeper crevices of my mind for a bulk of those 23 years. Funnily enough, our arcs mirrored each other. Lumsk gradually tweaked their formula – the heaviness fader sliding downward, the self-imposed period of inactivity correlating with my detachment. Fremmede toner, then, was an interesting development. Armed with a new singer and a significant, yet not unearned nor unwarranted, course correction, Lumsk reemerged in 2023 a little lighter in tonnage but arguably heavier in character. Einsemda continues this trajectory to very welcome effect.
Release date: October 30, 2026. Label: Karisma Records.For being ostensibly a heavy metal band, Lumsk have never been ones to club you over the head. Even at their heaviest (see “I trollehender”), their music is never a full-on, die in the pit stampede. The name of the game here is this – Lumsk 2.0 exist at a particularly serene intersection of progressive rock, folk metal and a form of Scandinavian folk music centered around acoustic textures. Further, there is a level of chop restraint that belies all three of those influences. This approach isn’t headline news for us who’ve been in the game this long (Troll was the first iteration). Time and maturity have allowed for the graceful coalescence of these constituents. Prog rock dorks will chuckle dorkily at the time signature chicanery. Folk metal clods will alehorn mightily at the melodic sense. Scandinavian folk retirees will grin old-ly at the familiar instrumentation. Through it all runs a deep vein of melancholy befitting the English translation of the title – Loneliness.Einsemda is based on selected works of Tor Jonsson, an early 20th century Norwegian poet. His writing was primarily characterized by stark emotion, often returning to repressed feelings and, um, loneliness, natch. I will not pretend to know the author’s work with any more depth than could be gleaned from English-language searching, but the translated song titles should give you enough context – “The Dead Man’s Hill”, “Loneliness”, “I Am Life From A Woman’s Death” (Norwegian speakers, please chime in on the [in]accuracy of that last one). The song titles and the muted drama of the cover art combine to offer a telling first impression, and tonally Einsemda unfolds mostly as expected. The bulk of the material is solemn and quietly powerful, and true to their style no single item competes for your attention. Lumsk are masters at cajoling maximum force from minimal energy. There are shades of countrymen and fellow prog-rockers Anekdoten, to be sure, but if you are interested in a more traditional progressive rock album, perhaps look elsewhere. Think of the thready magic Tenhi wield in their skeletal compositions – Lumsk are tuned to a similar frequency.
“Daudmannhaugen” is Einsemda in a nutshell – take a few bits of material, in this case the opening arpeggiation/chord changes and the vocal melody, add instruments to drive the energy into new territory, and iterate on that main theme with clever accompaniment or phrasing to maintain interest. Voila, that’s the album. This description may come across as reductive, but Lumsk have the wherewithal to keep the formula ironclad, and dare I say, exciting! Earlier I mentioned their restraint, but restraint does not necessarily exclude exuberance, nor does it indicate a lack of required tension. Harmonically and melodically, Lumsk create music that is abundant with beauty, darkness, and soul, regardless of whatever trappings are entailed by their genre tags.
“New” vocalist Mari Klingen is perfectly attuned to the character of Einsemda. While she is not the technical powerhouse that was Stine-Mari Langstrand, I find her timbre and ability to capture the story of each track so much more fitting. Her work in “Eg er Liv av ei Kvinnes Død” is particularly excellent, especially considering that she doesn’t show up until almost five and a half minutes into the overall 6 minute and 40 second length! The entire track is built upon a simple scale descent, and from such a humble foundation Lumsk build something quite magnificent. Heartfelt, swooping string sections give way to satisfying syncopated grooves. Drummer Vidar Berg has a field day, giving it all he has to keep the song not only afloat but joyously buoyant. The guitar solo that leads into the main vocal is one of those where you can almost see the face of the person playing, full of feeling, hitting that sweet spot where the difference between improvisational training and an outpouring of the soul is imperceptible. The track culminates with Mari building upon the voice of the guitar, lifting everything that came prior into the stratosphere. This, for me, is the emotional peak of Einsemda, one of those sections that impart some potent, higher meaning into your terrestrial existence.
Memory has the devious ability to hijack firsthand experience. Einsemda is one of those strange records where when I’m apart from it, I can bullet point all the reasons why I’d describe it as a “good” album. What is not as easily transmissible within distance, though, is why I believe it is a great album. Further descriptions of tracks or moments or performances won’t do anything to change the fact that it is my duty to recommend you seek it out upon release. If there’s one good deed I can do for the band these past 23 years, it is that and that alone.
Photo by Sven Erik Knoff
The post Lumsk – Einsemda Review appeared first on Last Rites.
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Catharsis, safe spaces and absolutely no d*ckheads: Meet Flesh Creep
Posted on October 26th 2026, 10:00am
