Interview: DeathCollector at Grind After Death Fest
Interviewed by Patrick O’Reilly Photo credit: Rich Price
Callum of UK extreme metal collective DeathCollector chats to us at grind After Death Fest.
He talks about the bands origins, the honour of playing the final Grind After Death Fest, the giant task of filling the shoes of Andy Whale, enjoying the other bands at this event and DeathCollectors future plans.
You can listen to the interview below, or jump over to any of the usual streaming services!
Rock Rotation: The Daily Rock Playlist That Blends Classics, Deep Cuts and Hidden Gems
Finding a great rock playlist isn’t difficult. Finding one that balances timeless classics, underrated tracks, exciting new discoveries and forgotten gems is another story altogether.
That’s exactly the idea behind Rock Rotation, a playlist updated daily to keep rock fans entertained, surprised and inspired.
Unlike many playlists that focus exclusively on classic rock or the latest releases, Rock Rotation combines different generations of rock music into one constantly evolving listening experience.
What Makes Rock Rotation Different?
Rock fans often fall into two categories: those who stick with the classics and those constantly searching for new music. Rock Rotation aims to satisfy both.
The playlist features:
Classic rock favourites
Modern rock hits
Deep album cuts
Underrated bands
New releases
Forgotten gems deserving a second chance
The goal isn’t to create a “greatest hits” collection. It’s to create a playlist that feels fresh every time you press play.
A Mix of Familiar Faces and Unexpected Discoveries
Browse through Rock Rotation and you’ll find artists from different eras and styles.
One moment you might hear a well-known favourite like Kings of Leon’s “Sex on Fire” or Alanis Morissette’s “You Oughta Know”. The next, you could discover tracks from bands such as NorthFork, Dave’s Manual, or Jangle Wave.
This balance between familiarity and discovery is what keeps the playlist interesting. Familiar songs pull listeners in, while lesser-known tracks provide opportunities to find new favourites.
Why Daily Updates Matter
Many playlists are created once and forgotten.
Rock Rotation is different.
New songs are regularly added, ensuring the playlist continues to evolve alongside the rock scene. New releases sit comfortably next to classic tracks, creating a listening experience that reflects where rock music has been and where it’s going.
For listeners, this means there is always a reason to come back.
Supporting New Rock Music
One of the biggest challenges facing modern rock bands is visibility.
While legendary acts continue to dominate playlists and radio stations, countless talented artists struggle to reach new audiences.
Rock Rotation actively supports emerging artists by placing their music alongside established names. This creates a natural environment for discovery without forcing listeners into an entirely unfamiliar playlist.
The Perfect Playlist for Every Occasion
Whether you’re:
Driving to work
Working from home
Playing guitar
Exercising
Relaxing with a drink
Looking for new bands to explore
Rock Rotation provides a soundtrack that constantly shifts between familiar comfort and exciting discovery.
Follow Rock Rotation
If you’re tired of hearing the same songs repeated endlessly and want a playlist that celebrates both the history and future of rock music, Rock Rotation is worth adding to your collection.
Updated daily with new songs, hidden gems, deep cuts and classics, it’s designed for listeners who believe great rock music never stands still.
Follow Rock Rotation on Spotify and join the journey through the best that rock has to offer.
Review: Rockett Love – Wired For Sound Pride & Joy Music – June 26th, 2026 Reviewer – Jason Hopper Rockett Love’s 2023 album ‘Galactic Circus’ (review here) left me convinced that the band had a stronger record in them. With ‘Wired For Sound‘, due June 26th on Pride & Joy Music, they have taken a […]
Today, blackthrashing speed metallers Ruyned stream the entirety of their highly anticipated second album, Profanum Sacrificium, at the New Wave of Old School Thrash Metal YouTube channel. Set for international release on June 26th via Osmose Productions, hear Ruyned‘s Profanum Sacrificium in its entirety exclusively HERE. Forged in the underground of Romania, Ruyned unleash their most ferocious and unrelenting material, Profanum Sacrificium, a blasphemous speed metal assault infused […]
Website I do like music with attitude, and this single earns a big five stars from me, for its attitude, for its grit, for its musicianship, for its utter rock n rollness I’ve said Parker Barrow are going places since … Continue reading →
Beabadoobee has announced details of her fourth album Pylon, and it features contributions from a host of familiar faces.
The follow-up to the London-based singer-songwriter’s 2024 album This Is How Tomorrow Moves will be released on September 18 via Dirty Hit and Interscope Records.
Inspired by ’90s alt. rock and midwest emo, it finds Beabadoobee collaborating with Hayley Williams, Deftones vocalist Chino Moreno, Turnstile frontman Brendan Yates, Title Fight guitarist Shane Moran and Pinegrove’s Evan Stephens Hall.
The album is produced by Beabadoobee, Shane Moran and Luca Buccellati, with The 1975‘s Matty Healy and George Daniel producing Write Me a Letter. Pylon is available to pre-order here.
The album track-list is:
1. Pylon 2. Sun Has Set 3. Estranged 4. Switchblade 5. Write Me A Letter 6. It’s Alright 7. In Motion 8. Memories 9. Nothing To Prove [feat. Hayley Williams] 10. Radio 11. Powerlines [feat. Brendan Yates] 12. Spark 13. Despite That 14. Satellite
The album is introduced by the single Sun Has Set.
Speaking about the single, Beabadoobee says, “A lot of the songs on this record are things I wish I could have said to someone. This song has this petty tunnel vision – it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.”
Watch the video below.
Beabadoobee (aka Beatrice Laus) has also announced an extensive world tour, taking in iconic venues such as Red Rocks in Colorado and Madison Square Garden in New York.
“I didn’t think I’d ever play venues like this in my life,” she admits. “It’s going to be epic.”
The Powerlines tour will call at:
Jul30: Hinterland Music Festival, Iowa Jul 31: Chicago The Salt Shed, IL
Aug 02: Lollapalooza, IL Aug 04: Indianapolis Everwise Amphitheater, IN Aug 07: Red Rocks Amphitheatre, CO
Oct 01: Uncasville Mohegan Sun Arena, CT Oct 02: PhiladelphiaLiacouras Center, PA Oct 03: Boston TD Garden, MA Oct 05: New YorkMadison Square Garden, NY Oct 07: Toronto Scotiabank Arena, Canada Oct 08: Laval Place Bell, Canada Oct 10: Columbia Merriweather Post Pavilion, MD Oct 11: Raleigh Lenovo Center, NC Oct 13: Orlando Addition Financial Arena, FL Oct 14: Duluth Gas South Arena, GA Oct 16: The Woodlands The Cynthia Woods Mitchell Pavilion, TX Oct 17: Austin Germania Insurance Amphitheater, TX Oct 19: Phoenix Talking Stick Resort Amphitheatre, AZ Oct 21: Los Angeles The Kia Forum, CA Oct 24: San Diego Viejas Arena, CA Oct 26: Oakland Oakland Arena, CA Oct 28: Vancouver Rogers Arena, Canada Oct 29: Seattle Climate Pledge Arena, WA
Nov 14: Glasgow OVO Hydro, UK Nov 16: Cardiff Utilita Arena, UK Nov 17: Manchester AO Arena, UK Nov 18: London The O2, UK Nov 23: Copenhagen K.B. Hallen, Denmark Nov 24: Stockholm Fryshuset Arenan, Sweden Nov 27: Oslo Spektrum, Norway Nov 30: Paris Zenith, France
Dec 02: Amsterdam AFAS Live, Netherlands Dec 04: Brussels Forest National, Belgium Dec 06: Berlin Tempodrom, Germany Dec 07: Düsseldorf Mitsubishi Electric Halle, Germany
Violet Grohl and Wisp will support at various shows.
It’s six years since All Them Witches released their last album, Nothing As The Ideal. That’s six years of massive changes on the world stage, from presidents to pandemics, dubious wars to heroic Moon explorations. For the band, on a personal level it’s been all change, too. When frontman Charles Michael Parks Jr (just Parks to those who know him) eventually joins Classic Rock and guitarist Ben McLeod on Zoom, he’s on the porch of his home in the wilds of rural Arkansas, “somewhere in the Ouachita mountains”, where he and his wife live an outdoorsy existence and their only friend is an elderly tractor driver.
But in 10 days’ time they’re moving to Nashville, where there’s bright lights, noise and people, traffic and good food. “Just to give it a shot for a while and get out of the woods for a minute,” he says.
It’s been all change on the band front as well. In fact, it’s fortunate that there still is a band. In 2024 they came within a hair’s breadth of calling it a day when drummer and founder member Robbie Staebler quit.
The plan was to honour the festival dates they had booked, and then for McLeod to concentrate on the engineering and production work he does from his home in St Augustine, Florida, when he’s not on the road. Parks, meanwhile, would have carried on with his Jr Parks solo project. “And I don’t know, I’d go bag groceries at Walmart or something. Learn a trade. Learn how to weld.”
(Image credit: Travis Shinn)
It was only when they brought in drummer Christian Powers for those few last dates that they found a renewed sense of purpose. “After a couple shows, we realised that it didn’t suck,” says Parks.
The frontman shrugs off questions about the reason for Staebler’s departure as “boring. You know, every band has lost members, and it changes and it grows”.
“It’s definitely forced us as a band to get creative all over again,” McLeod admits. “I feel like we were kind of stuck in a rut for a little bit. But just having a breath of fresh air and a new drummer opened up new experimentations for us. So I guess that’s the silver lining of losing a core member of a band – you almost get to start over.”
Fans will be queuing up to buy Powers a pint when they hear All Them Witches’ excellent new album House Of Mirrors, then, because they’ve hit gold with it. It’s fat-riffed, grungy stoner-doom power married to weighty psych experimentation, kicking off with a reinvention of an old traditional song, Red Rocking Chair, set ablaze with a breathtaking guitar riff. But what really sets the record apart is the blistering blues – not the mournful kind, the raging kind – at its foundation.
“I grew up ear-deep in the blues,” says Parks, a lifelong fan of Abner Jay, Skip James and Lead Belly. “You think about what black-metal guys go to jail for, and all the heinous shit they do, but Lead Belly went to jail twice for killing guys over cards, and was so charming and played guitar so well he got released from prison twice for just being a nice guy. But he’d killed two people over a game of poker. That’s as metal as fuck.”
McLeod, meanwhile, fell into a love affair with electric blues as a child when he discovered a Hendrix blues compilation.
“I’m going back to more primitive stuff now,” he says. “If I hear a white-boy blues band now where it’s a squeaky clean mix, I just want to vomit.”
Another new-album highlight, The Welterweight, with its intricate storytelling, reveals Parks’s family history as a source of inspiration, warts and all.
“My great-grandfather was a welterweight boxing champion in Alabama,” he explains. “But he also was not a very good person. It’s not a heroic story; he was kind of an asshole. That song is born out of expectations, first with people, second with your own intentions on how to move about with other people, with society.
“A lot of people underestimate the people around them and how tough they are and how hard they can love and how generous they are, like you never really know. So that’s what that song is about, the hidden capacities of people.”
All of this comes at a point when the band are enjoying a higher profile than ever. They signed a big management deal. They’ve risen in popularity from underground alternative beginnings to audiences that are bigger with every tour.
More impressively, they’ve done it all by carving out their own niche. They’ve toured as the first act on a bill with Primus and Mastodon, and played shows with The Sword, but mainly ploughed their own furrow, building their own fan base without piggybacking on others’ success. Their only other support slot, on tour with Ghost, showed why that was the right move.
“The best way to describe it is ten thousand people just waiting for you to get off the stage,” says Parks. “And everybody in corpse paint looking at you, politely hating your music.”
That dry, droll sense of the absurd is a running theme with the two men. You get the impression that they’re not starry-eyed about the industry. In fact they’re extremely matter-of-fact and businesslike, describing the band as a ‘company’ more than once.
Living in different states, they don’t tend to hang out when they’re not on tour, and they’re very different people, too. Considering how they’ve changed over the past decade, McLeod admits to having a hot head and a quick temper. “I’ve been trying to have a better attitude and a more positive mindset on the road,” he says.
Parks is the opposite. Previously he tended to live in his head and stay under the radar, but is now getting better at taking leadership and making decisions. “Maybe we’re just getting finer with time, aged like a fine wine,” he says.
It certainly seems that way from a musical point of view. And as good as House Of Mirrors is, they’re looking to improve, having weathered recent storms and reignited their creative spark.
“I just want to continue making interesting albums,” says McLeod. “I still don’t think that we’ve had the album yet.”
“Yeah, there’s something in there that’s trying to come out,” Parks says in agreement. “I think what it takes is spending a little more time around each other to release the beast. But there’s something coming. Don’t know what it is, but it’s something back there.”
Thætas made waves a bit back in the thoroughly diseased crevices of the musical landscape that I scuttle over with their debut “Shrines to Absurdity”. Boasting a wiry, discordant strain of death metal that seemed to squelch it’s way from the same unconventional viral culture as Dead And Dripping or Vulnificus, they bored a pus-slick hole in the brutal death landscape and began to feed, burrowing maggot tunnels through the rot, feeding, nurturing, and finally oozing free a second fleshy, tumorous larval clutch. This new brood they call “The Irredeemable Age”, and given the prowess of it’s elder brother it has much to measure up to. Are it’s misshapen, sclerotized jaws up to the task of mulching the competition too?
Yeah. Yeah they are. This is fucking killer, no ifs, buts, or any other accompanying implications of ambiguity. Thætas are lethal and angular as mantis limbs, their thorny exoskeleton a mosaic of a thousand toxic spines. Rhythms undulate and twist, lead lines swarm forth like Malmsteen got mixed up and instead of cornflakes ate a bowl of crack rocks, atonal slams shunt and jostle under the nervous ambience of spacey chords, vocals belch half-digested flesh stench over a mix ripe with accumulating composition. More bite-size than the expansive compositions of Dead And Dripping (if no less dangerous for it) Thaetas are fast proving alpha wolves of this avante-garde corner of brutal music as a whole.
Where to start… how about the Malignancy coded thrash of “Summers of Hate”? Unsettling pinch harmonics and sudden time signature shifts punctuating a radioactive graveyard of leering discordant chords and sickly melodic inflections. Or maybe “Daytime Lantern”, with it’s jarring acoustic stings to counterpoint the cresting waves of it’s percussion, ugly palm mute sequences crunching into place like broken ribs flash-fused rigid in a fingersnap. It’s groovy in an unkind way, lounge music for Anubis’ antechambers. There’s a nervous tension to their sound, as though you’re always waiting for a precipice that never quite arrives, and forces you to keep the edge of your seat warm for it’s whole runtime. If not as intense as that last Nithing album (no shame there, that thing is a masterpiece) it certainly shares some other of it’s attributes – the lurching stress and unease of it mostly. But where Nithing felt as though you were being torn into red, seeping ribbons in a meat grinder, Thætas instead wield the dread of dangling you above it, safety guaranteed only by the powers of a fraying string knotted about the loosest of your teeth.
“Digital Locusts” sounds like a spider’s egg sac erupting above the fretboard, thousands of arachnid footfalls painting the soundscape with unpredictable sweeps and jittering rhythmic spurts. It also forms as good a point as any to talk about the bass, given the prominence given to it at 3.22, as it perambulates through bad acid trip chords and a frenetic solo. It’s the pop of overextended limbs, kneecaps fired out of place, elbow joints bent back, back, back ‘til all at once the arm snaps into a flopping sack of useless meat. It’s always good to hear bass, especially on technically demanding albums that allow the musicians’ skills to shine as much as their compatriots do. Wall to wall, this album is saturated, in among the mouldering viscera, with excellent musicianship, with more chops than millipede karate.
I’d like to think that somewhere in the pretentious, overwritten mess you’ve just sat through that it becomes clear that I liked this album, but in case it needs saying in plain English, I really like this album. It’s clambering insectoid offerings are proof positive of an appallingly talented band making good on the promise shown on their – already impressive – debut. I hope that the band stick around, because seeing how easily they’ve vaulted the dreaded sophomore slump, the dubious honour of brutal death greatness could well lie in store for these remarkably disturbed individuals.
Six years after their mosh-pit inducing self-titled debut, Texas grindcore wrecking crew Triage return with In the Trenches, their long-awaited follow-up and arguably their most savage statement to date.
Featuring scene veterans from Kill the Client, Gridlink, Cleric and PLF, Triage pull no punches on their lean and mean 16-track sophomore effort. No atmospheric interludes, no unnecessary detours, no bullshit. Just pure unfiltered aggression and grindcore at its most potent.
Decibel is proud to present In The Trenches in its entirety below:
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“This new album is our declaration of war on the system and the current establishment that is ruining lives and marching us towards a fascist state,” the band shared with Decibel. “It’s a statement and a road map to resistance in the form of a battle cry. Resistance and grind are forever.”
Triage has come back swinging, and not a moment too soon. For grind purists, In The Trenches stands as one of 2026’s strongest arguments for the genre’s continued power. For Triage, it’s a battle cry against a broken world.
In The Trenches is out June 26 via Roman Numeral Records. Pre-orders are available now through Roman Numerals’ webshop and Bandcamp.
Their tenth studio album, third-longest of their careerFeaturing guests Joe Duplantier (Gojira) and Dave Eugene Edwards (16 Horsepower, Wovenhand) There’s no limit to CULT OF LUNA’s creative vision. Inspired by artists from hardcore, sludge metal, folk, art-rock and beyond, the Swedish luminaries are revered as one of the heaviest and most restless bands in alternative music. […]
