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The ‘Knights Of Tiamat Tour’ begins in October.

The post Wolves In The Throne Room To Tour Europe And The UK With Worm & Final Dose This Fall appeared first on Theprp.com.

And they’ve shared a brief tease of what they’ve been working on.

The post Nothing More Have Hit The Studio For Their 8th Album appeared first on Theprp.com.

FOR IMMEDIATE RELEASE
LANGUISH IN DESPAIR DROP “KILLING SPREE” OUT NOW AND ANNOUNCE NEW ALBUM STRAIN OF PROFANITY
Canadian/Australian death metal unit LANGUISH IN DESPAIR have officially unleashed their latest slab of brutality, “Killing Spree,” now available worldwide via CDN Records. The track arrives as a full force statement ahead of their upcoming full-length album Strain of Profanity , set for release May 21, 2026.
This is not cleaned up, not softened, and not built for comfort. This is death metal stripped down to the bone.
Built on a foundation of pure hostility and minimalist extremity, LANGUISH IN DESPAIR operate as a two-piece with zero interest in polish, trends, or accessibility. What you get is raw execution, fast impact, and absolute underground intent. No filler. No gloss. No mercy.
The project features Jason, known for his work with Human Barbecue and Putrified J, alongside his transcontinental counterpart Marcel. Together they lock into a shared vision of relentless aggression, trading finesse for force and atmosphere for straight violence.
“Killing Spree” wastes no time. Blistering percussion, razor edged guitar tone, and guttural vocal delivery collide in a track that feels less like it was written and more like it was released into the world fully formed and fully hostile. It hits hard and keeps hitting harder.
With Strain of Profanity , the duo pushes that same philosophy into a full length assault built on chainsaw intensity, suffocating speed, and no interest in compromise. It is designed to punish speakers and listeners alike.
Two countries. One mission. Total death metal devastation.
ABOUT LANGUISH IN DESPAIR
LANGUISH IN DESPAIR is a Canadian/Australian two-piece forged in raw aggression and stripped down extremity. Featuring Jason and Marcel, the project removes anything unnecessary and leaves only riffs, speed, and anger. No gimmicks. No image games. Just pure underground death metal delivered without compromise.
“Killing Spree” is out now via CDN Records.
Strain of Profanity arrives May 21, 2026 via CDN Records.


Connect: 
https://cdnrecords.com/label-artists/languish-in-despair/
Contact: 
lambertjason4000@gmail.com

A fitting tribute to the late Tompa.

The post At The Gates Top The Swedish Charts With “The Ghost Of A Future Dead” appeared first on Theprp.com.

A grand jury indicted him yesterday.

The post Ex-Turnstile Guitarist Brady Ebert Facing Possible Life In Prison Over Upgraded Attempted Murder Charge appeared first on Theprp.com.

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

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Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

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Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War¹ in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits² and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,³ so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

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Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

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Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

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Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”⁴ Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

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Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,⁵ or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

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Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

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ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

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Spicie Forrest’s Vicious Vittles

A Wilhelm Scream⁶ // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream⁷ returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira⁸ is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

The post Stuck in the Filter: February 2026’s Angry Misses appeared first on Angry Metal Guy.

Here where the worlds divide…

Brooklyn-based dream pop band The Harrow debut the video for “Island of Willows,” a track from their forthcoming EP The Drowned World.

Created and edited by multidisciplinary artist Joan Pope, the impressionistic video unfolds as a drifting, painterly meditation on the blurred boundary between beauty and decay, evoking Ophelia-like imagery. Known for her project Temple ov Saturn, which fuses collage, music, video art, augmented and virtual reality, poetry, and zines into richly layered allegories, Pope has also released music with Blacktantra and The Whip Angels. Her previous video work includes visuals for Blacklist, Gwenno, and Rites of Sin, as well as the title track from The Harrow’s 2024 Cinderglow EP.

“Island of Willows” is a lush, slow-burning composition steeped in longing, with dense layers of electric, acoustic, and slide guitars weaving together in a gauzy haze. Echoes of Souvlaki-era Slowdive, Mazzy Star’s nocturnal melancholy, and the aching sprawl of Neil Young’s “Cortez the Killer” ripple through its DNA. The video mirrors this atmosphere through recurring motifs of water and flowers, conjuring a liminal dreamspace that feels at once immersive and elusive, like a memory dissolving even as it takes shape.

Joan Pope offers a few words about the creation of the video:

“Most of my video and artwork is inspired by myth and literature. When I first heard ‘Island of Willows,’ I immediately thought of Ophelia, especially as depicted by John Everett Millais. I used layering and soft distortion to create an atmosphere where beauty and dissolution are indistinguishable. It has an overall Pisces/12th house vibe – the imagery drifts into a place of quiet undoing and surrender, which I felt paired naturally with the emotional depth of the song.”

Guitarist Greg Fasolino, who wrote the music and lyrics for “Island of Willows,” reflects on the track’s origins:

“Despite being a musician for over four decades, this was the first song I ever wrote entirely on my own, and the first time I attempted lyrics. From the moment the chords came to me, I felt the presence of water, which led me to draw on my fascination with Algernon Blackwood’s 1907 supernatural novella ‘The Willows.’ There’s both reverence and sadness in it – a kind of bittersweet psychic paralysis in the face of the cosmic. It’s about glimpsing something beyond understanding, where another dimension brushes against our own, and trying to hold onto that feeling of awe.”

The Drowned World EP will be released digitally on all major platforms on May 15th. Watch the video and below and pre-order the album on Bandcamp here.

Follow The Harrow:

• Bandcamp
• Instagram
• Spotify
• Facebook
• Linktree

Header photo by Chris Scalzi/Distilled Studio. Cover design by LeeAnn Falciani.

The post The Harrow Conjure a Liminal Dreamspace in “Island of Willows” appeared first on Post-Punk.com.

Placebo have shared one of the new versions of tracks set to appear on their upcoming celebratory record ‘Placebo RE: CREATED’, and it sounds sensational.

The track in question is ‘Lady Of The Flowers’ , track nine on the 1996 record. A soft, subtle builder of a track, the new version hits like a battering ram in comparison. The waves of shoegaze-esque guitars, the silent whispers of poetry in the background, the beautiful storytelling, it all feels as fresh as it does familiar.

Thanks to the fact that the production on this new version is so densely layered, the track feels even fuller and freer. A showcase of care and consideration.

Have a listen for yourself.

‘Placebo RE:CREATED’ and will be released on June 19 via Elevator Lady Ltd through AWAL.

The band had this to say about what it represents for them:

“We think of this record as a director’s cut. We haven’t recreated it from scratch. We went back to the original master tapes and brought 30 years of playing these songs live back into the record.

“This project was about finally finishing the record, dragging it into the 21st century sonically, while preserving the integrity and the spirit of the original. It’s not about improving it, there’s nothing wrong with it, it’s about completing it.

“When we made the first album, we didn’t yet have the experience or the studio knowledge to fully translate what was in our heads. Over the years, the songs took on a life of their own onstage; they grew, they developed, they kind of completed themselves.

“It’s a celebration of where we began, and a meeting point between who we were then and who we are now. It’s a way of honouring that innocence, while letting the songs exist with the scale, confidence and energy of the band we’ve become.”

The band will also be making their way through Europe and the UK at the end of the year, with the focus on playing songs from ‘Placebo’ and 1998’s ‘Without You I’m Nothing’. A real return to their roots.

Here are all the dates.

SEPTEMBER

28 – OPERTO Super Bock Arena
29 – LISBON Sagres Campo Pequeno

OCTOBER

01 – MADRID Movistar Arena (The Ring)
03 – BARCELONA St. Jordi Club
05 – TOULOUSE Zenith
07 – NANTES Zenith
09 – ESCH-SUR-ALZETTE Rockhal
12 – LEIPZIG Quarterback Immobilien Arena
15 – VILNIUS Twinsbet Arena
16 – RIGA Xiaomi Arēna
18 – HELSINKI Veikkaus Arena
20 – STOCKHOLM Annexet
22 – OSLO Spektrum
24 – COPENHAGEN KB Hall
26 – HAMBURG Barclays Arena
27 – AMSTERDAM Ziggo Dome
29 – FRANKFURT Festhalle

NOVEMBER

01 – ANTWERP Afas Dome
02 – COLOGNE Lanxess Arena
04 – ZURICH Hallenstadion
06 – MILAN Unipol Forum
09 – MUNICH Olympiahalle
10 – VIENNA Stadthalle
13 – BUDAPEST Arena
15 – PRAGUE Fortuna Sports Hall
16 – BERLIN Uber Arena
18 – LODZ Atlas Arena
21 – STUTTGART Hans-Martin-Schleyer-Halle
23 – LYON LDLC Arena
25 – PARIS Accor Arena
28 – NOTTINGHAM NIC Arena
30 – GLASGOW OVO Hydro

DECEMBER

02 – DUBLIN 3 Arena
04 – MANCHESTER Co-op Live Arena
05 – LONDON OVO Wembley Arena
08 – CARDIFF Utilita Arena

The post Placebo Share New Re-Recorded Version Of ‘Lady Of The Flowers’ appeared first on Rock Sound.

Floating Points made another long-ass song with another orchestra. Even if the late Pharoah Sanders isn’t involved, that”s something that you need to hear. The veteran UK producer Floating Points has done a lot of things in his career, but the one that stands above all others, at least to me, is Promises, his vast…

The post Floating Points – “Falling To Earth” appeared first on Stereogum.

The pop-punk legends in Mayday Parade have officially kicked off May Day by dropping their latest single, “Blame It On The Youth”. This track isn’t just a standalone banger, though… it’s a teaser for the final instalment of their ambitious three-part album trilogy. The band are currently celebrating twenty years of making us all feel … Continue reading Mayday Parade celebrate 20th anniversary with new single “Blame It On The Youth”