Category: news

Featuring members of Sanguisugabogg, Bayway, Stabbing, Missing Link and Extermination Dismemberment.

The post PeelingFlesh Debut “Murderous Intent” From Their Guest-Filled New Self-Titled Album appeared first on Theprp.com.

Following the explosive September 3 release of their debut track, the next BIG thing in Australian heavy metal, Boner Contention, has finally come with the official music video for Heavy Metal Heaven, released TODAY. A masterclass in juxtaposition, the track pairs face-melting, world-class musicianship with the existential weight of being a middle-aged headbanger. Fronted by […]

German heavy music force Half Me unleash King, the final single taken from their highly anticipated new album Dogma, set for release on October 23, 2026 via Arising Empire. With the album drawing closer, King delivers one last devastating glimpse into its uncompromising world, pushing the band’s sound into some of its most brutal and […]

St. Louis quartet dead7 — Jason Kozik (vocals), Dexter Greer (guitar), Tim Quinn (guitar), Stephen Salyer (bass), and Zach Guinn (drums) — are back and in a big way. The band has just dropped the video for new single Cannibal. The gritty, guitar-forward track yanks back the curtain on a topic most of us can […]

That sophomore album will be out in November.

The post Mirrors Sign With Greyscale Records For New Album “The Red Sky”, Debut “Devil’s Due” Music Video appeared first on Theprp.com.

Last month, alternative rock outfit Anberlin announced CURRENCY, the band’s highly anticipated ninth studio album and the first full-length release to feature Matty Mullins as lead vocalist. Marking the beginning of a bold new chapter, CURRENCY builds on the momentum of 2024’s Vega, where Mullins made his recording debut on two tracks, and signals a […]

The song tackles mental health struggles.

The post Dead7’s “Cannibal” Music Video Arrives appeared first on Theprp.com.

The sexual assault court case against Aerosmith frontman Steven Tyler will have to be rescheduled, as the judge due to preside over the legal proceedings has unexpectedly stepped down.

Judge Patricia A. Young was due to hear the opening arguments in Los Angeles on September 28.

Plaintiff Julia Misley – formerly Julia Holcomb – is accusing Tyler sexually abusing her from 1973 to 1976, starting when she was 16-years-old, and he was 25. She allege that Tyler coerced and persuaded her into believing that their three-year relationship, which began in 1973, was a ‘romantic love affair”. Her legal team filed the lawsuit in December 2022 under California’s Child Victims Act, suing Tyler for sexual assault, sexual battery, and intentional infliction of emotional distress

At the time the lawsuit was filed, Misley’s attorney, Jeff Anderson, said that the music industry has “permitted, protected, and profited from severe violence for decades”, adding “It’s time to face the music. It’s time for reckoning.”

Tyler denies the claims and is seeking to have the case dismissed, arguing that the pair primarily lived together in Boston, where the age of consent was 16.

In May, Judge Young dismissed the majority of the lawsuit under statutes of limitations – meaning too much time had passed since the alleged crimes were committed.

Now Young has recused herself from the case, without specifying the exact conflict of interest which forced her withdrawal.

“As a result of the parties not waiving, I will officially disqualify,” Judge Young said. “Once I discovered the basis for my disqualification, I did not take any further action, so anything that was an open question as of last Friday … I have not ruled on those, and I will not rule on those.”

It is not yet clear when the next stage of the trial will begin.

Auckland-based industrial alt-pop artist Vana returns today with brand new single Bleeding Heart, out now via Sumerian Records. Following previous singles Pray and In Your Name, the release lands hot on the heels of Vana supporting Ocean Sleeper on their SOLD OUT Australian tour, while Vana‘s headline shows in Melbourne and Sydney last week also […]

Tomates En Verano know exactly what a guitar is for: tension, impact, and the occasional act of vandalism. On El color del mar, the Mar del Plata trio turn shoegaze, gothic post-punk, and 1990s alternative rock into a record full of sudden pressure changes, serrated edges, and hooks that keep poking through the distortion. Five albums in, they sound less concerned with refinement than with making every shift in volume count.

Pixies are all over this record, and that is meant as praise. You hear it in the sudden changes of pressure, the clipped guitar figures, the way Ignacio Giobellina can leave a song hanging on a few dry notes before dropping something much heavier into the room. There’s some Joey Santiago in that instinct: the understanding that a guitar doesn’t need seventeen pedals and a doctoral thesis to make you nervous. There’s something in the way the guitars and melodies crash against each other that echoes Lush, while the more expansive passages carry the oceanic airiness of Slowdive’s Just for a Day. The Breeders, Liz Phair, and Sonic Youth all rub elbows here, too, without turning the album into a museum tour of shoegaze and alternative rock.

Carina Monjeau is the reason much of this works as well as it does. At times, her airy, cool delivery strongly recalls My Bloody Valentine’s Bilinda Butcher, sounding almost effortless while the guitars are busy throwing furniture around behind her. That contrast gives the record much of its personality. She never sounds as though she has to fight the arrangement for space, and Graham Sutton’s production deserves credit for that. Sutton, of Bark Psychosis, gives these songs mass without stuffing every available frequency until the record suffocates. The band’s solid bass lines carry as much character as a guitar hook, and Pedro Moscuzza’s drumming keeps the heavier sections from becoming a shapeless pile of amplification. There is muscle here, but there is also movement.

At times, El color del mar feels like something you might have stumbled across on a particularly strange Lilith Fair bill in 1997, right after a band indebted to The Breeders. It would feel equally at home on a Lollapalooza stage, with staff handing out earplugs to anyone braving the volume near the front. Farther back, some listeners might lie in the grass and give themselves over to the music’s reverie, looking up until they feel as though they could fall into the sky. The dayglo decade of the 90s hangs heavily over the album, yet the trio have enough personality to avoid sounding like collectors showing off their favorite records.

The title translates as The Color of the Sea, though the band connects it to internal conflict and the sensation of living in a world where everything seems slightly misplaced. That idea fits these songs rather well. They keep shifting their balance: thick guitars give way to cleaner passages, sweetness brushes against abrasion, and quieter sections make the harder moments hit with greater force.

Francisco Raccanello Monjeau adds piano to Algo común, while Luana Giobellina Monjeau of Buenos Vampiros plays bass on El color del mar and Todo comienza en casa. Both appearances broaden the arrangements without turning them into showcases.

After more than twenty years together, Tomates En Verano sound less interested in proving their credentials than in making a record with big guitars, strong songs, and enough instability to keep the volume knob within reach. El color del mar makes a convincing case that the old alternative-rock machinery still has plenty of dangerous moving parts.

Listen to El Color del Mar below, out now via Casa del Puente Discos. You can order the album here.

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The post Argentine Trio Tomates En Verano Dive Into a Ocean of Dreamy Shoegaze on “El Color del Mar” appeared first on Post-Punk.com.