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Members of LANDMRVKS, Eternal Enemy and more will guest on the record.

The post Nasty’s New Album “Trauma” Due In October, Title Track Now Streaming appeared first on Theprp.com.

There are shows you attend, and there are shows you survive. Tonight was the latter before it was ever the former.

Wolverhampton had spent weeks cooking under a heatwave that finally broke the only way British weather knows how to break – catastrophically. Frederick Street turned into a river, and KK’s Steel Mill found itself standing in water. Doors that were supposed to open at 7 pm didn’t open until 8:45, and by the time the crowd shuffled inside, they were walking through two inches of standing water while the venue’s crew fought a losing battle against the flood with towels pulled from boxes at the door. Nobody left. That’s worth noting before a single note of music gets played tonight – the loyalty required to stand soaked to the skin in a queue for the better part of two hours, for a band celebrating fifty years of existing, says as much about Accept’s audience as anything that happened on stage.

Tailgunner opened, two songs shorter than planned thanks to the delay, keeping the energy up for a crowd still wringing out their socks. It’s a direct-support slot doing exactly what a direct-support slot needs to do – nothing more, nothing less, with the room’s attention clearly saving itself for what came next.

Accept took the stage at 10:10, still riding a curfew restriction that cleared pyro through the third song only, and the anniversary framing mattered from the first note. Wolf Hoffmann and his band tore into “Metal Heart” through a smoke-choked stage, that instantly recognizable lead tone cutting through the PA before Mark Tornillo had said a word. When he finally did, dry-humored and gracious – “This is the first time we’ve delayed an indoor show because of the rain” – the room, still damp, laughed with him rather than at the circumstances. A confetti cannon closed the opener; flames flanked the stage for “Teutonic Terror,” warming faces that had spent two hours getting rained on.

From there the band didn’t let up. “Restless and Wild” brought the photographers into the pit at last, Tornillo working the crowd’s hands into the air over beefy, chugging riffs, and the production held up its end throughout – this was, by a wide margin, some of the best lighting KK’s has thrown behind a band in recent memory, sharp and purposeful rather than decorative. “London Leatherboys” and “Midnight Mover” leaned on twin-guitar harmonies from Hoffmann and Philip Shouse, with bassist Martin Motnik – who inherited the low end from Peter Baltes back in 2019 – locking in alongside drummer Christopher Williams, whose résumé running through Ace Frehley, Gene Simmons, and Blackfoot showed in the pocket he held down all night.

The catalog on display was deep rather than nostalgic. “Run If You Can” bled into a “Monster Man” / “Aiming High” / “Wrong Is Right” medley, and the back half – “Love Child,” “Fight It Back,” “Up to the Limit,” “Breaker” – was delivered with the tightness of a band that’s been playing these songs for decades without ever letting them go slack. “Princess of the Dawn” gave the set its one real change of pace, its slower build drawing some of the loudest crowd participation of the night, before Motnik and Shouse joined Williams on the drum riser for a run through “Demon’s Night,” “Starlight,” “Losers and Winners,” and “Flash Rockin’ Man” that closed with fire bursts on both sides of the stage.

The closing stretch never eased off. “Pandemic” came with another pyro hit, “Fast as a Shark” tore through at full speed, and “Son of a Bitch” pulled one of the biggest reactions of the night before the inevitable arrived – “Balls to the Wall,” the entire room taking the vocal from Tornillo the moment the riff landed. “I’m a Rebel” closed things out with one last confetti cannon, the band thanking a crowd that had more than earned the gratitude.

Accept didn’t play a victory lap tonight – they played a set that made fifty years sound like momentum rather than history. A flood couldn’t stop them, a curfew couldn’t slow them down, and a soaked, exhausted crowd sang every word anyway. That’s not nostalgia. That’s a band that still means it.

“A flood tried to drown Wolverhampton’s night with Accept. It didn’t stand a chance.”

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Photos by John Inglis.

The post Wolverhampton Drowns, Then Roars: Accept Bring 50 Years to KK’s Steel Mill – Concert Review & Photos appeared first on Antihero Magazine.

It’s September, which means Perennial’s Modernism is right around the corner. We’ve heard “What’s New On The Beat Scene,” “Modernism,” and “Ready! Steady! Go!,” and today the New England trio is unleashing the quick, sprightly finale “Emma Peel.”

The post Perennial – “Emma Peel” appeared first on Stereogum.

I walk through fire with my head held high
Is that really such a crime? 

Leaving a faith can redraw the borders of reality. Certainties that once governed time, guilt, desire, and the fate of the self fall away at once, leaving freedom inseparable from vertigo. A person must decide which pieces of the old world deserve burial, which can be carried forward, and how to inhabit a life no longer mapped by inherited answers.

Portland post-punk quartet Nyx Division enters that exposed territory with By Design, a new single rooted in vocalist Domino Monet’s experience of escaping the Mormon church. Released ahead of the band’s East Coast dates, including a set at NYC’s A Murder of Crows, the song follows the collapse of a prescribed worldview into the frightening, sensuous freedom of choosing what comes next. Monet describes the subject as “the liminal expanse between awe and terror,” where ontological loss meets the exhilaration of reconstructing a world from its broken pieces.

By Design opens with acoustic guitar and a dry, vibraslap-like rattle, setting a touch of spaghetti-Western theater ahead of Monet’s first lines. The full band soon bears down through Justin Cory’s heavy guitar figures and Mason Wilkinson’s firm percussion, while Alex Rivas sends a nimble bassline dancing underneath. As the initial force relaxes into a melodic groove, the track takes on a psychedelic hue. Cory’s guitar reaches toward the broad alt-rock and shoegaze sweep of bands like Catherine Wheel while retaining the core rhythmic pull of 80s post-punk.

Monet supplies the song’s greatest sense of scale. Her held notes tremble with heat and conviction, drawing upon the commanding tradition of women rock singers from the 1970s and ’80s. Fire, memory, sin, and survival pass through the lyrics as lived conditions rather than decoration. The repeated title carries a productive reversal: language often used to justify a divinely ordered universe becomes a declaration of self-authorship. Design now belongs to the person who endured the old plan and walked away with the right to make another.

That tension gives the track its lift. The music recognizes the cost of departure while making room for appetite, beauty, and volition. Its dance-floor momentum feels connected to the body’s return after years spent beneath doctrine, and its desert atmosphere suggests an open horizon where terror and possibility share the same immense sky.

Listen to By Design below: 

Formed in Portland in 2021, Nyx Division brings post-punk, goth, and rock ’n’ roll into a muscular, romantic union. The group released the Dark Star EP in 2022, followed by the 2025 singles Soldier of Love and Midnight Lights. By Design expands that approach through acoustic color, psychedelic breadth, and a hard-earned sense of release.

Nyx Division now heads across the East Coast for four early-September appearances. The band shares the Philadelphia, Worcester, and Cambridge dates with eX-Tradition. Their September 4 stop places them at New York’s Bowery Ballroom for the first of the festival’s two main nights at A Murder of Crows XI, appearing alongside Anja Huwe, Rosegarden Funeral Party, Creux Lies, and Guilty Strangers.

Nyx Division East Coast Tour Dates

• September 3 — Philadelphia, PA — Cousin Danny’s Lounge, with eX-Tradition, NRG, and Subtle Body
• September 4 — New York, NY — Bowery Ballroom, A Murder of Crows XI
• September 5 — Worcester, MA — Distant Castle, with eX-Tradition
• September 6 — Cambridge, MA — Middle East Upstairs, with eX-Tradition

Follow Nyx Division:

• Instagram
• Bandcamp

The post “I Feel Like a Star Again” — Nyx Division Become the Architects of Their Own Destiny in “By Design” appeared first on Post-Punk.com.

The Who By Numbers, released in early October 1975, is the seventh studio album by The Who and marked a watershed moment for the band, as its songs were, for the most part, more introspective and personal than those they had released previously. The record was a commercial success, peaking at #8 on the U.S. Billboard chart and #7 in the U.K., partly due to the success of one of the album’s lighter moments, “Squeeze Box”, which became an international hit, reaching the top ten in the U.K., top 20 in the U.S., and #1 in Canada.

50 years on, The Who By Numbers is to be reissued this October as a 5CD/1Blu-Ray super deluxe edition boxset featuring a 100-page hard back book with photos, memorabilia & exclusive notes from Pete Townshend and Who expert Andy Neill, 92 unreleased tracks and mixes, brand new Atmos, 5.1 & Stereo mixes by Pete Townshend, 11 of Pete’s original demos for the album, tracking sessions from Ramport & Shepperton Studios, early mixes, guide vocals, the fullest version of Live At Vetch Field, Swansea, Wales, June 12, 1976 released to date and on the Blu-Ray audio and video from a previously unreleased Who concert shot on 2” videotape from Metropolitan Stadium, Pontiac, Michigan.

The Who’s show at Pontiac, Michigan, on December 6, 1975, set the record at the time for the largest-ever indoor rock concert attendance, with 76,896 people. The entire show has been exhumed from The Who’s archives and professionally cleaned up, with remastered audio. It now stands as one of the few existing visual records of this memorable Who tour, their last with the irrepressible Keith Moon.

Six months later, The Who played three British football grounds under the banner Who Put The Boot In. The first of these, at The Valley, the home of Charlton Athletic, was recognised by the Guinness Book of World Records as the world’s loudest rock concert. The third show at Swansea FC’s Vetch Field was recorded for a proposed live album, and over the years, songs from the Swansea concert have appeared on official Who releases. Now, the available original mix tapes have been remastered and returned to their original order. The show was Keith Moon’s last proper show before a British audience, capturing the level of performance power The Who attained over the year-long tour.

Produced by Glyn Johns, who had previously worked with the band on their 1971 album Who’s Next, The Who By Numbers, despite its light-hearted John Entwistle-drawn sleeve and massive hit single, features some of the darkest songs ever recorded by the band. This new super deluxe edition sheds light on the making of the album and the state of mind of its composer, Pete Townshend. As he puts it in the 100-page making-of-the-album book that accompanies the box set, “I could feel a new wave or reaction and rebellion coming in the music business; the big bands were becoming careless and self-indulgent. I wanted my songs to continue to have a cathartic function for our audience. When punk hit a few years later, I was not surprised.”

The Who are one of the top three greatest rock legacies in music history, with 9 U.S. & 10 U.K. top ten albums, and 14 U.K. top ten singles.

They have played over well over 2,000 gigs in a career spanning over 50 years, including venues such as Woodstock, Monterey Pop, Glastonbury (twice), Hyde Park (four times), The Isle Of Wight (three times), the closing ceremony of the 2012 Olympics, Desert Trip, Shea Stadium, The Superbowl half time show and Live Aid to name but a very few.

Emerging in the mid-1960s as a new and incendiary force in rock n’ roll, their brash style and poignant storytelling garnered them one of music’s most passionate followings, with the legendary foursome blazing a searing new template for rock, punk, and everything after.

Inducted into the Rock and Roll Hall of Fame in 1990, the band has placed 27 top-forty singles in the United States and the United Kingdom and earned 17 Top Ten albums, including the 1969 groundbreaking rock opera Tommy, 1970’s pummelling Live At Leeds, 1973’s Quadrophenia, and 1978’s Who Are You. The Who debuted in 1965 with a trio of anthems “I Can’t Explain,” “Anyway Anyhow Anywhere” and “My Generation.” Since then, they have brought the world hits such as “Pinball Wizard,” “Won’t Get Fooled Again,” “Who Are You” and “You Better You Bet.”

In 2008, they became the first rock band ever to be awarded the prestigious Kennedy Center Honors. The Who has performed all over the world, including global music events for the Super Bowl XLIV Halftime Show in 2010 and closing the Summer Olympics in 2012. The Who continued their charity work by playing a concert in January 2011 to raise money for trials of a new cancer treatment called PDT. In December 2012, they performed at the Hurricane Sandy Benefit in New York.

Alongside his groundbreaking work with the Teenage Cancer Trust in the U.K., in November 2012 Daltrey, with Townshend at his side, launched Teen Cancer America.

Both Roger and Pete delivering their own memoirs (Pete’s Who I Am was released to much acclaim in 2012, and Roger’s Thanks A Lot Mr. Kibblewhite; My Story was embraced by critics in 2018) it’s fitting that the two remaining WHO members have shared their incredible legacy in literary fashion, for few bands have had a more lasting impact on the rock era and the reverberating pop culture than The Who.

The band released their first new album in thirteen years, the critically acclaimed WHO in 2019, and toured the world with their ‘Moving On’ and ‘The Who Hits Back!’ symphonic shows with a full orchestra, which were commemorated in 2023 with the album The Who With Orchestra Live At Wembley, recorded at London’s legendary Wembley Stadium. 2025 saw The Who saying goodbye to their legions of loyal fans in the U.S.A., but their music will live on forever.

Who By Numbers is available to pre-order here.

The post THE WHO’s Classic Album “The Who By Numbers” To Be Revisited As A Super Deluxe Edition For Its 50th Anniversary appeared first on Sonic Perspectives.

Central American cohort Morbid Stench, comprised of musicians spread across El Salvador and Costa Rica, will soon continue the spread of their brand of underground death/doom with the release of third album Doom Metástasis. Featuring the same lineup as when the band started in 2014, Morbid Stench have grown as musicians, matching the rotting pace of the music to the themes of the album.

Speaking to Decibel via email, they said:

“’Narcissistic God’ is the second extract from Morbid Stench’s upcoming third and conceptual album, Doom Metástasis.

“The song is about the worship of the self taken to its ultimate form. When the individual becomes his own god, the boundaries between identity, obsession, and destruction begin to disappear. It represents another stage in the spreading corruption of Doom Metástasis, where what begins internally eventually becomes impossible to contain.

“The impossibility of containing propagation is central to all six songs, which explore the loss of boundaries between the individual and the environment, life and decomposition, identity and transformation. Death is present throughout the record, but we are less interested in death as an ending than in what happens when the logic of separation itself collapses.

“The music mirrors this process through slow passages, density, cadence, and gradual shifts, while the vocals move through different registers and textures, from deep guttural tones to more necrotic, decayed-sounding expressions.

“The intention is clear, to make the listener experience the transformation rather than simply hear a narrative about it.

“By the end, the corruption is no longer something external—it has become the entire landscape.”

Hear the new song below; you can get down with the Stench on October 2 when Doom Metástasis is released via Nuclear Winter Records and Putrid Cult.

The post Track Premiere: Morbid Stench – ‘Narcissistic God’ appeared first on Decibel Magazine.

Filmed this past June.

The post Pro-Shot Footage Of Basement’s 2026 ‘Outbreak’ Headlining Set Released appeared first on Theprp.com.

Live Review: ArcTanGent 2026 – Saturday

22nd August 2026
Words: Matt Noble
Photos: Rich Price 

The warm, fuzzy tones of Brummie witch coven Meatdripper begin the final day of music nicely on the PX3 stage. The crushing doom riffs and tasteful Iommian lead guitar work pay homage to the obvious legends from their city, but the whimsical lead vocals and general sense of psychedelic weirdness genuinely feel new and different for the genre. Moreover, the energy that they bring is wholesome and fun. With riffs and gloom cooked up straight from the cauldron, ‘Spider’ gets heads moving away to its catchy groove, and the month-old new single ‘Exterminate Her’ also goes down well. Each member owns her place in the band, with vocal harmonies (and some vicious screaming from guitarist Zowie at the end of ‘Homegrown’), a powerhouse drum performance and a fantastic stage presence all around. Their future looks bright indeed.

Din Of Celestial Birds bring their atmospheric post-rock to the Yohkai Stage shortly after lunch. At times gentle, and at other times, completely crushing, their impassioned performance even brings one of their own guitarists to tears towards the end. There is so much emotion running through each note, from sad, haunting melodies led by dreamy synths, all the way to uplifting, euphoric guitar lines, which sound gorgeous when the band use triple guitar harmonies. Din Of Celestial Birds are an instrumental act, but manage to say so much and really tell stories without words. The ‘Takeoffs & Landings’ record is only weeks old by the time they hit the stage, sounding fresh and powerful with a Baroness-like level of ‘heavy’, but delivered with their own post-rock textures. Worth checking out!

After half a decade on hiatus, Leeched’s second show back is a genuine surprise for the weekend. A deep bass note rings out, creating an uneasy industrial tension before the three bandmembers calmly walk on and take their places to deliver what could be the heaviest set of the festival. Playing through Orange amplifiers, the guitar and bass sound is apocalyptically low, while their dual vocal attack sounds positively savage. New drummer Tyler Hodges handles the oppressively slow tempos with as much confidence as he does when the band dial up to a hardcore blast or a brutal crust beat – sometimes switching from one extreme to the other at the drop of a hat for an unpredictable and even unsettling set. Leeched have plenty of groovy moments though, snapping everyone’s necks about, and the dissonant guitar layering sometimes adds some texture into Leeched’s brute force. They’ve got a lot happening to keep us all hooked. Leeched are industrial, noisy and punishingly loud. Keep an eye out for their return to live music, this set was something special.

The misanthropic noisemakers in Chat Pile gather a hell of a turnout on the main stage. Bringing a punk ethos, social commentary and Raygun Busch’s charming, nonchalant stage patter, the riffs are savage, the grooves are nasty and dissonant, and the pits are absolutely brutal. Recent single ‘PEN I S MALL’, introduced as being about Busch’s time working in a mall, gets an absolutely rabid response as the crowd feels the pure bile delivered onstage. There is something extremely direct about Chat Pile and the utter ugliness of their music that ties into the evocative, visceral lyrics. Busch gathers a scream-along of ‘Why?’ in the song of the same name, written unapologetically about resource allocation and rough sleepers. His storytelling and delivery is a little unhinged and almost scary, which helps build a set that as audience members we experience rather than just watch. We’ve got some all-timers in the making here. Their new album drops in the first week of September. You’ve been warned…

The Californian sludge/thrash legends in High On Fire close the Yohkai stage. A chance to see Matt Pike in the flesh – and indeed Matt Pike’s flesh, his iconic topless figure with a guitar in hand dominating the right hand side of the tent – is enough to fill out the second stage. A Grammy winner and relentless heavy metal lifer, he’s a guitar god in his own right. But Ben Koller, who headlined Arctangent with Converge in 2023, gives an outstanding performance on the drumkit, and Jeff Matz’s bass tone sounds absolutely huge, holding down the low end with real power. High On Fire entertain the tent and provide the soundtrack to some good old-fashioned Saturday night pints with pummelling riffs and sonic savagery. Preferring not to mess about too much between songs so High On Fire put on a memorable set for their fans, Pike gets the crowd moving and delivers his vocal snarl with charisma. ‘10,000 Years’ is ace, its iconic twisting riff going down a storm, while ‘Snakes For The Divine’ is a real treat, sounding seriously heavy out the front. Playing riffs for riff worshippers, High On Fire do not disappoint.

Closing the curtain on the main stage not just for Arctangent 2026 but also for Fernhill Farm is a rare performance of ‘Mariner’ by Cult Of Luna and Julie Christmas. It’s the kind of set you can sway about to and calmly enjoy the vibe of after several days of camping and partying in a field. But for post-metal musos, it’s a set you can boast that you were there for. ‘Mariner’ hasn’t been played since before the pandemic. And today’s performance reminds us all that it really is a great album, the troupe of musicians bleeding every drop of emotion from the songs into something real and raw for today’s performance. 

The dark intensity of ‘The Wreck Of S.S. Needle’ is particularly strong, with Julie’s vocals soaring high above the sheer wall of sound Cult Of Luna bring to the slot. The massive sonic power that the band bring is awe-inspiring, with the reverb of the guitars, the shimmering keys and the pounding rhythms mixed with precision and intent out the front. ‘Cygnus’, in turn, is transcendental, building higher and higher at the song’s apex. Julie Christmas’s piercing vocal wail provides a great contrast with the brutal roar from Cult Of Luna’s Johannes Persson. You feel like you need a sit down or time to reflect when it’s all over. For an album themed on exploring outer space, you could certainly call this headline show otherworldly.

It’s a full package, too. The stage smoke creates a subtle haze over the tent, and the intense light show reduces those onstage to silhouettes. The visual effect is nothing short of mesmerising. As the final notes from ‘Mariner’ die out and the set ends, the entire tent can be seen – and heard – responding with genuine enthusiasm and appreciation for what we have all witnessed. Where else but Arctangent for a headline set like this? Where else would you fill a tent of this size for music that sounds like this? What on earth have they got up their sleeves for 2027?

Photo credits: Rich Price 

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Review: ArcTanGent 2026 – Saturday appeared first on The Razor's Edge.

Live Gallery: ArcTanGent 2026 – Saturday

22nd August 2026
Photos: Rich Price 

Cult of Luna with Julie Christmas

High on Fire

Pupil Slicer

Humanfly

Chat Pile

Oathbreaker

Itoldyouiwouldeatyou

Leeched

Din of Celestial Birds

Jo Quail

Tanzana

Kathryn Joseph

Photo credits: Rich Price 

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Gallery: ArcTanGent 2026 – Saturday appeared first on The Razor's Edge.

A blues and rock ’n’ roll-inflected guitar solo cuts through melodic death, black and folk metal on “Upward,” the first preview of WOODEN SHADOW’s second album, Silverlake. The Finnish one-man project will release the record on November 19, 2026, through Inverse Records. “Upward” introduces its combination of emotive melodies, atmospheric passages and heavier riffing while […]

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