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“Sorry for all you pop fans out there.”

The post Amid His ‘Taylor Swift Is A CIA Psyop’ Shirt Drama, Metallica’s Kirk Hammett Says Modern Songwriting & Pop Music Is “Crap” appeared first on Theprp.com.

I threw this on expecting some decent Swedish thrash and ended up liking it more than I thought I would!

Repulsion is only five tracks, but it moves fast and doesn’t waste time. Dead Sleep keep it stripped down – no extra layers, no pointless detours, just riffs and momentum. Feels more punk-fed than a lot of newer thrash, which helps.

“Repulsion” opens hard and pretty much sets the pace straight away. Fast, sharp, catchy without softening anything. This track is the one that stayed with me more though. That slower crawling riff in the middle sits differently from the rest of the EP and breaks up the speed in a good way.

“Hell Hath No Fury” goes for a darker mood, while “Leech From Čachtice” tears ahead with a strong speed metal spirit in its guitars and overall momentum. Both are absolute killers, with a healthy dose of spite running through them.

The lyrics caught me off guard too. There’s more going on than the usual thrash clichés – defiance, anger, women pushing back instead of just being written into the violence. Small thing maybe, but it gives the songs their own shape.

Anna Wagner holds the whole thing together. Bass and vocals both right up front, rough enough without turning messy. The whole EP sounds like three people in a room pushing everything as hard as it goes.

That’s probably why it works.

It’s rough, quick, a little nasty, and doesn’t hang around longer than it needs to. Twenty minutes and done.

Went back to the title track twice after the first run!

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William Shatner is reportedly considering turning his upcoming all-star heavy metal album into a live theatrical production, blending concert performance, storytelling, and large-scale visual elements. […]

The post Shatner’s Metal Experiment Eyes the Stage appeared first on Metal-Rules.com.

While we can’t help you pronounce Svjetlost, we can offer up the fact that it means “light” in the Slavic language of Bosnia and Herzegovina. Which is fitting because even though the musician behind this one-man doom project, Jamie Kobić (also a member of Gavran), is located in Rotterdam, Netherlands, he is of Bosnia ancestry. Thus his “solo” album of sorts, The Forever Silent, is steeped in that culture. Though the track we’re premiering, a lumbering 13-minute crusher in the Sleep vein, may not sound, on its surface, particularly Slavic, its lyrical content is, in fact about Kobić’s homeland.

The Forever Silent was produced by Freek van Rooyen (Gavran) and mixed by Marius Prins (Throwing Bricks), while mastering was handled by Alan Douches. It’s set for release via Shadow of Sorrow Records on July 24. Place your preorder here.

Kobić had this to say about the new track:

“This song is about the pyramid-shaped mountains found in a small town in Bosnia over a decade ago. Where an ancient civilization might have lived that had built these structures to come into contact with aliens or maybe even supernatural forces. Although this is heavily disputed, obviously it’s a great story to tell in a song like this.”

The post Track Premiere: Svjetlost – “Above the Mountain” appeared first on Decibel Magazine.

“People’s obsessive compulsion to follow other people’s lives that they’ll never once meet. It’s almost as sad as it is maddening.”

The post 156/Silence Take Aim At Celebrity Worship With New Track “Proxy Idols” appeared first on Theprp.com.

Massachusetts death metal crew Fuming Mouth are poised to do the best work of their 13-year existence this summer with their third album, The Ringing Bell. Featuring the band’s core lineup of guitarist/vocalist Mark Whelan and guitarist Pat Merson, plus new bassist Chris Berg and drummer Jay Weinberg (ex-Slipknot, et al), The Ringing Bell takes Fuming Mouth back to a leaner, meaner place.

Hot off the release of their new single, “Cheat Death,” Whelan jumped on a Zoom call with Decibel to talk about working with Weinberg, why he enjoys working with an independent label and the power of a positive mental attitude in 2026. The Ringing Bell is out on July 17 via Triple B Records and it’s up for pre-order.

The most noticeable change for a lot of people is that Jay Weinberg is drumming on this record. How did you guys connect with him? Have you known him from before Slipknot or did it come later on? 

I reached out to him through his website. It was later on. I seriously just emailed him and I didn’t hear back for a few days and I got a text message and I was like, “Oh, that’s Jay!” I looked in my email spam folder and his response was there. I almost missed it and if he didnt’ text me, there’s a good chance he wouldn’t have played drums on the record. 

I think it came out really well. He really fits with the band despite some of the stuff he’s known for being Suicidal Tendencies or Slipknot. 

That’s the thing. We know of each other—he knew of Fuming Mouth well before I ever reached out to him and I obviously knew of him. I’m trying to trace it back. It has to be Madball, just from my love of hardcore. That’s like 16 years we’ve known each other, been in the same circles. He’s toured with a lot of my friends and all that kind of stuff. We have the same exact vernacular for music and a love for a lot of the same death metal, a love for a lot of the same hardcore, a love for a lot of the same punk. It was just seamless. 

Did you have music written you sent to him or was it more collaborative? 

I started writing right after the last record because I knew the direction I wanted to go with this one. I wrote out the drums in midi and when I brought it to him, he just took it and made everything better. Once it got brought to him, that’s when it actually became very collaborative and the songs changed a lot. It was a two-part thing. I wrote it and it was re-worked, re-written. 

Since he has the same vernacular in hardcore and death metal, it sounds like it was a pretty natural fit. 

Yes. For example, I remember emailing him for the song “Self-Exhumed” and being like, “This is the demo I have, but I want to go for something between Motörhead ‘Stay Clean’ and Entombed ‘Eyemaster’ and he said ‘I love those songs.’” 

It was boom, immediate. He knew what he was doing. 

How long would you say you were working on this album? Did you start right away with it? 

I started working on it right after we recorded the last one. I’ve been chipping away at it. I would say 2025 is when I had one big session, a ton of songs, tons of riffs. 2025 is when everything really got nailed down with Jay. It’s hard to say exactly but I really mean it: within a week of finishing Last Day of Sun, I started working on this record. 

It seems like on this one it goes back to what people associate with the older Fuming Mouth stuff. A little heavier, a little more focused on the crust and hardcore side of things. Was that an active decision you guys made or did that develop as you were writing? 

When I listen to Sepultura, something off of Arise, something like “Dead Embryonic Cells”—there’s that riff that goes [mimics “Dead Embryonic Cells” riff].  I was just listening to it when we were touring with Suffocation in Europe and everyone was moshing and super fucked up, but I was chilling and listening to it. I was like “Is this a breakdown or a riff? Because I don’t even know if people called riffs breakdowns. I don’t know if this would be considered a breakdown,” and I just started thinking about our music differently. I just kept hearing stuff like that, like a Slayer part and you hear it kind of broken up. I just started thinking about riffs differently and how simple they can be. That realization is new territory for Fuming Mouth. We’ve never, ever had a china cymbal on a song. I don’t think we’ve ever had positive lyrics in a song. 

When you were writing it, did you actively want it to be a more positive record? 

Yes. 100% yes. Zero discussion, conscious [decision of] “This is going to be a positive record.”

Is that because things have been going well for the band and your personal life has been a little more stable the last few years, with the illness being further in the past? Or was there a different logic?

I don’t know if there was so much of a logic as much as it’s things were just really scary, whether it was me being sick or friends dying, overdosing, taking their life, things like that. It just became overwhelming. It felt right for the theme to be being positive moving forward as opposed to this cathartic thing. I’m not saying anything bad about negative lyrics; I think it’s extremely important in music. We know I’ve done that with Fuming Mouth for over a decade but it’s not like that anymore. It’s about moving forward and being positive. 

I think everyone in the world can really agree it’s been a really long five or six years since Covid. The stuff that was dark before is so much darker now. You need something that isn’t just constantly fixating [on darkness] these days. 

That’s why I was hesitating before, because it’s not just about me being sick. This is an everyone thing. That’s why I say friends passing away. I feel like it pertains to everyone. I’m really trying to push and encourage this message of moving forward, being strong, believing in yourself, not being negative. 

Would you say that’s where the album title comes from too? Ringing the bell, moving toward the next part of life out of a negative period? 

Yes. There’s a finality to it but it is death metal that we play. There’s a yin and yang. A bell can be funeral bell, it can be a wedding bell. How do you look at the world? The title and the message, it’s very much “What’s your perspective?” 

The record is on Triple B this time. Do you prefer to work with a smaller label? Do you think that provides more intention? 

We did one EP and one LP with Nuclear Blast and completed the contract. Triple B is just a cooler label. It just made more sense. 

For a lot of bands that play death metal and hardcore, stuff that’s more underground or heavier-focused, it’s really easy to get swept up on a larger label, not even as a fault of the label. 

Yeah. Nuclear Blast is different. They’re very focused on artists like Marilyn Manson now…. it’s widespread to everyone now. I’m really excited. A lot of it is done independently, which feels really hard. Sam [Yarmuth, owner] is totally supporting us and I’m really proud of the record. 

You’ve been working with Kurt Ballou since 2019. For you guys, what does working with Kurt add to the music? Do the songs like they did when you came into the studio? 

I did not let him touch it at all. He said that’s why he likes working with me. I don’t need a producer, in his words. I need an engineer. I like recording and stuff, but when it comes to setting up mics and the proper distances across a drum kit, that’s not my expertise. When it comes to mixing, I have way too many crazy ideas and he’s really good at grounding me. I’m really proud of mixing this one all by myself. 

It feels very direct and focused. Now that the album is done and you’re able to look back on it, are there songs that stand out the most to you or things that you’re especially proud of? 

I’m proud of the whole entire record. I’m proud of every single song. I really mean it. I can’t wait to play every single song. I wish there was one singular thing I was the most proud of but every song got the same amount of love. Each one got the proper amount of work. “Barbarian Scourge,” the second-to-last song on the record feels particularly good to me. 

Everything you’ve said sounds like it’s a big step forward for the band. 

It really is that simple. It’s awesome.

The post Interview: Fuming Mouth Frontman Mark Whelan Talks New Record, Jay Weinberg and Positive Attitudes appeared first on Decibel Magazine.

Band:	Manøver
Release:	Insurrection
Genre:	Crust, Sludge, Noise
Country:	Germany (Münster)
Release Date:	15th of May, 2026
Released via	Fucking Kill Records (Vinyl) Santa Diabla DIY (Tape)

When Münster-based Sludge / Crust / Death Metal outfit Manøver released their latest EP “Taken” in 2023, my attention instantly channeled and I jumped aboard because I was immediately hooked by the unique mixture of subgenres that this band furiously tosses into the sonical swamp. Since this EP already marked their third one in a row, discussions arose that there might be a full-length to follow. Having interviewed these guys after the release of “Taken” already, I had the chance to find out a little earlier that this rumor was right and this was also the exact moment I knew I had to talk about this release as well. So I ceased the initiative to get Manøver back to Transcended Music Blog in order to talk about the release of their full length debut “Insurrection“, the recording process, its content and everything surrounding this release and the ongoing alternations of the band constellation during the recent years.

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Interview with Manøver

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Hello dear Manøver folks! It’s been three years already since we talked the last time and I’m very glad that we meet again – especially regarding the occasion that initiated this interview! Your full-length debut Insurrection was released on the 1st of May (digitally) – how are you doing?

Hi Roman! We appreciate to talk to you again, thanks a lot! Despite the fact we just had to cancel the sweden tour with our friends in Frost, Pisse & Elend due to health issues, where we would have played the album for the first time live, we are doing good! As of writing this we are looking forward to this weeks release shows in Göttingen and Münster and the physical release on tape and vinyl! 

Since the release of your last EP Taken, there were some personal changes in Manøver regarding the drums. Apart from that, your lineup has also experienced some fluctuation in the past as well. Can you give us a brief insight into the musicians that went in and out of Manøver and who eventually joined you on the drums?

Manøver was formed in 2019 by Julian (the 1st), Jonas and Jannis. All 3 have been friends for a long time and played together in several bands. Jonas and Jannis played in Crust/Grind band Unrest (2010-2025) and were in several punk bands in the 2000s, Julian and Jannis played in Blackthrash band Danos. Julian is still active in New World Depression.

Jonas left Münster and concentrated on new projects during covid so we were looking for a new singer. (Manøver only had bass&drums as instruments at that point)

Julian & Jannis met Malte at a show where Danos shared the stage with Maltes former band Hitzbold.

When we were looking for a replacement on vocals, we remembered that show.

After one rehearsal together, it was clear that Malte would join – not only for vocals but also adding guitar to the band. This was a musicial turning/developing point for the band. 

When Julian (the 1st) decided to concentrate on playing guitar in New World Depression, we were looking for a new drummer, which was found in Julian (the 2nd). Within his time in the band, Winselmutter was formed, where Malte played bass, later Jannis as well. The band quickly got a lot of recognition. After realizing both bands require a lot of attention, we decided to part ways concerning the line up of the bands.

So Julian (the 2nd) would leave Manøver to focus on Winselmutter and Malte & Jannis on Manøver, while looking for a new drummer again.

Zorn was found as new drummer shortly.

He brings a lot of new influence and technical possibilites to the band as he mainly excels in classical percussion (contemporary art and symphonic orchestra).

We immediately focused on finishing the new album as the studio date was already set.

On your first EP Død, you simply had bass and drums in order to cast music that moved on the brink of Crust Punk and Sludge. What was the driving force to decide to continue with a guitar from Raids on and does this initial constellation still impact your songwriting?

We thought at one point a guitar would help the sound to evolve and when Malte joined as singer, it came in handy that he is playing the guitar as well.

We felt it would just be a very good addition to the sound. What continues since the beginning is the use of two bass signals, as a foundation for a sick tone. When adding the guitar the sound became even more sludgy and the sound impacts the songwriting. So in a way, the use of two bass signals still impacts the songwriting today as it set the foundation for the sound.

So far, you have released an EP via Mackeys Law and another one via Santa Diabla. After that, your latest EP was released via Fucking Kill Records and Santa Diabla. These are also the labels you returned to in order to release your full-length debut, which probably also showcases appreciation for their work. Nevertheless, when comparing to releasing your EPs, did you experience differences when moving towards the release of a full-length?

As a full-length is a bigger project and investment than an EP, at the same time already having learnt what it means to release on vinyl, we had more prepared before the studio date, such as artwork, layout and booking plans. This was something we only first thought about when we already were in the studio recording Taken.

Concerning the collaboration with the labels nothing changed so much!

When we talked the last time, you already announced that the upcoming full-length was no longer going to be merely about war as a subject. As can be seen (and heard), the subject matters that are addressed on Insurrection also address conflicts no longer on a pure military level but rather in a political framework. What impacted or influenced your decision to broaden the subject of your music and how did this feel to you when looking back at your output?

It felt like a natural progression to expand the topics we deal with. Many of the new songs tackle themes that effect us and people close to us personally. The overall massage of the previous releases was more or less the same. The antifascist agenda is still there and present throughout all songs, just with a wider variety of topics.

One key factor that immediately captured my attention is the opening riff on your first track “Spiraling Down.” To some extent, I had to think of the title track of the Jim Jarmusch movie Dead Man by Neil Young. Where did that come from? Was one of your members listening to too much Wayfarer?

We were listening to too much disembowelment and other (funeral-) doom! We strayed far from the original inspiration though. 

So no special intend besides wanting an introsong that slowly progresses tension.

It has been quite evident on your previous releases already, but it can’t be ignored on Insurrection anymore that there is a coining influence of Noise and Drone elements in your music. This has gradually increased over the progression of your previous EPs and now seeks defining space in your music. What impacted your songwriting, its progression over the years to such an extent that these influences found their present room on Insurrection? Were there any specific artists that initiated certain decisions in your songwriting?

We wanted to display the live experience as good as possible on a release. That means no silent breaks between songs, much feedback and noise. Our passion for Noise and Drone sounds manifests in our choice of equipment (pedals!!!). Malte & Jannis exclusively use some pedals to create those noise sounds between songs.

Apart from the overtly present framework of Noise and Drone, the attentive listener might also spot certain sequences that could arguably be located in the spheres of Black Metal. Especially via the shifting of the drums, your sound is interwoven with pressuring blast beats. Can this progression be traced back to your new drummer or is it just another output of your comparably free stance of cherrypicking from numerous genres of Metal and Punk?

Our songwriting approach is usually not destined to fit a specific style or (sub)genre. We pick elements we like or perceive viable for the emotions we want to evoke. We amplify these emotions by emphasizing contrasts. 

The black metal influences have been present before but with Zorn as the new drummer we are able to lean in on these parts even more.

On “Narcissists Abyss” you address a specific group of people that can probably already be guessed by the name of the track. Nevertheless, throughout the track, you also remain quite abstract regarding the fact of possible specific addressees. The number of people that could be mentioned here is probably huge, but who eventually initiated the urge to write this song?

By living this life we think everyone maybe had to face people like this, the (leftist)DIY scene does not make an exception. When not being a victim, you probably know people who are. 

The people we thought about when writing the lyrics have either already been called out or the victims don’t want it to be public, so we won’t drop any names here or elsewhere. 

By no means do we want to imply that we do everything right all the time. But we try and learn every day. We want everyone, especially men to stay aware, learn and step in when noticing or hearing about behavior like this. 

Usually Malte writes the lyrics. But this one was actually written rather quickly when we were together during a rehearsal weekend. 

What exactly do you understand by the term of “Bomb Shell Disease” and was this an intentional purpose to bridge the subject matter of your album from warfare terminology to societal conflicts? (Since this disease is quite common nowadays as well but going by a different term.)

Bombshell Disease is one of our oldest songs. It was released on Død in 2020. We always play this song live and wanted it re-recorded with the new sound. Doing that, it was the perfect opportunity to invite Jonas for guest vocals, as he originally sang it back in the days. The song deals with the trauma of war, so in a way its bridging the topics of the older releases and fits the new one.

The album cover also transports the strong DIY character of the band because of the fact that your vocalist Malte was in charge of layouting this gathering of people together with tattoo artist Esmee. How did the idea for the artwork come up and what was it like to work on this? Did you have different ideas before having started?

The idea came up on a rehearsal weekend, where we finished songwriting for the album. We discussed several options for artwork when listening to the demo songs. We wanted it to have a political message and express how history repeats itself. As the vision became clearer, we thought that could be something done on our own. So Malte started working it out. When there was a nearly final stage we were not completely happy how the soulless eyes looked. Esmee helped us out by painting them. The result speaks for itself.

It only takes a few tracks into your album to find out that the low-end frequencies on this recording are at the absolute forefront. When going a little deeper into the recording process of Insurrection – did you have any problems of conflicting signal chains that moved on similar frequencies when producing an album that transports such an amount of pressure?

We wanted it to be as low-end as possible. By playing 2×2 signals on bass & guitar we thought about possible problems concerning frequencies and clarity. This was also one of the first things we talked about when arriving at the Tonmeisterei. Role had already thought about this in advance as well and had some ideas. He made this process very easy for us and we love how the finished product sounds.

Did the recording process and setup of sounds that you intended to record result in any necessary changes in your live gear in order to transport this sound at a live set?

It was clear to us that we wanted to record as close to our live sound as possible.

So the focus in the studio was how to catch the tone properly. Our stage sound already developed very much over the last years, so we do nothing different live that in the studio concerning the use of gear. Except a live sample pad we use since the release.

You decided to release your album digitally on the 1st of May and the physical release was set to follow on the 15th of May. Why did you decide to split these release dates?

There were some delays to be expected with the physical copies, so we decided to split the dates and keep our favorised date to make the album listenable for everyone.

Of course, 1st of May also has a political importance as well and we felt it would fit quite good!

There is at least one date that you should have in mind when it comes to live shows bringing forth Insurrection – and this is your release show at the Baracke in Münster on the 16th of May. Are there any other dates known already where the audience might be able to listen to your latest output in a live setting?

As of writing this, release show lays a few days back already. We had a blast and are happy to had it done with many friends on and off stage. Punkbar, as an well-known institution in Münster orgnanized the show, our friends in Mulch and Rană supported us on stage. All in all we could not have wished for more (except for an in time arrival of the vinyls). 

Next shows will be in early June in Gießen & Villingen-Schwenningen with Minenfeld among others. More shows for this year are and will be anounced – you can always check the dates on our socials. Always open for booking requests!

Thank you so much again for your time and also the trust of letting me help out with the press of your release. It was an absolute pleasure on both sides, as has always been in the past as well. As usual, the final words of this interview shall belong to you!

Right back at you, thanks to you! It’s always a pleasure to work and talk with you. We have a huge appreciation for what you do for the DIY underground and all the time and passion you pour into this! 

Support your local underground, go to concerts, fight fascism!

The festival will move forward July 3–5 with its original lineup intact

Source

Their second single since recruiting ex-Slipknot, etc. drummer Jay Weinberg.

The post Fuming Mouth Premiere “Cheat Death” Music Video appeared first on Theprp.com.

The Finnish screamo band Alas have spent this decade accumulating a spotless catalog, full of searing, dynamic, abrasive post-hardcore that stays true to its genre while still appealing to those of us who merely dabble in that life. That streak continues with “Epäsymmetriaa,” a new Alas song out this week as part of a split 12″ with Karnabahar. It’s being released by an enormous number of different record labels in various territories worldwide, and it sounds expansive on that global scale. Listen below.

The post Alas – “Epäsymmetriaa” appeared first on Stereogum.