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Posted on April 10th 2026, 3:50p.m.

FOR IMMEDIATE RELEASE
Tommy Stewart’s Dyerwulf Unleashes New Single “My Politics Are My Own”
Stream / Purchase: Bandcamp | Linktree
Smyrna, GA – April 17, 2026 – Doom, psychedelia, and thrash collide in the latest single from Tommy Stewart’s Dyerwulf. “My Politics Are My Own” marks the band’s newest statement in heavy music, blending crushing riffs, hypnotic grooves, and unapologetic personal expression.
Tommy Stewart’s Dyerwulf, the two-piece powerhouse featuring bassist/vocalist Tommy Stewart (Hallows Eve, Black Doomba Records) and drummer Joseph Dingle, has spent over a decade touring the United States alongside legends like Pentagram, The Obsessed, The Skull, and Year of the Cobra. Their live performances have left audiences reeling at major festivals including Maryland Doomfest, Snowblind Festival, Tennessee Metal Devastation Festival, and Tampa Doom and Gloom Fest.
Produced at Black Doomba Studio in Smyrna, Georgia, and mastered at Sage Audio in Nashville, Tennessee, “My Politics Are My Own” also features guest lead bassist Kaleb Riser of Black Moon Cult, adding a new layer to the band’s signature heavy sound.
On the track, Stewart reflects on personal boundaries in the age of public scrutiny:
“I’ve never written about politics, but I decided to write this song to explain why. I’m private about my views. It’s that simple. I don’t feel I’m the only one, either. You have every right to holler about what you believe. I respect your right, go for it! But, alternately, I have a right to keep it to myself. This song is an anthem for those who choose to keep it to themselves.” – Tommy Stewart
Since forming in 2015, Tommy Stewart’s Dyerwulf has consistently delivered intense, riff-driven music across multiple albums and EPs. With “My Politics Are My Own,” the band signals the start of a new era of singles, videos, and a forthcoming third full-length album in 2026.
Listen / Stream / Preorder: https://tommystewartsdyerwulf.bandcamp.com/album/my-politics-are-my-own-single
Follow the band: https://linktr.ee/tommystewartsdyerwulf
Press Contact: zach@metaldevastationradio.com


Connect: 
https://linktr.ee/tommystewartsdyerwulf
Contact: blackdoombarecords@gmail.com

Wheezy recently sat down with Daniel (vocals/media) and Tom (guitar/production) from the rising “super team” Brightshade for their first-ever interview. Formed just over a year ago, the band has spent the last nine months meticulously “cooking” their sound – fusing nu-metal and metalcore roots with cinematic influences from video games and film soundtracks. The duo … Continue reading Video Interview: Brightshade

FOR IMMEDIATE RELEASE
SIGNO ROJO UNLEASHES CRUSHING NEW SINGLE “GROWTH” OUT APRIL 17, 2026 VIA MAJESTIC MOUNTAIN RECORDS
Karlshamn, Sweden’s underground heavyweights Signo Rojo return with a thunderous new statement in the form of their latest single, “Growth,” set for release on April 17, 2026 via Majestic Mountain Records .
For over fifteen years, Signo Rojo have been grinding their way through the depths of the Swedish underground, forging a sound that refuses to sit still. Blending the oppressive weight of sludge and doom with the raw urgency of hardcore and punk, the band has built a reputation the old-fashioned way: DIY, no shortcuts, no compromises. Their output may come slow, but when it lands, it hits like a collapsing glacier.
With “Growth,” Signo Rojo deliver exactly what you’d expect and then some. This is a mammoth, riff-driven assault packed with spine-rattling low end, towering melodies, and the kind of atmosphere that sticks to your ribs. Fans of Neurosis , Big Business , and Baroness will feel right at home, but make no mistake, Signo Rojo aren’t chasing anyone’s shadow. They’ve carved out their own lane and they’re driving straight through it.
Lyrically, “Growth” takes a hard look at modern society’s obsession with self-improvement. Instead of buying into the glossy, instant-gratification version being sold everywhere, the band flips the script. The track digs into how personal development has been commodified, turned into something people think they can purchase, hack, or shortcut. The result? More often than not, people end up stuck, misled, or worse, exploited by systems that prey on vulnerability.
In the band’s own words:
“‘Growth’ is a mammoth-stomping slab of doom-infused sludge that delivers spine-shaking riffs and soaring choruses.”
Behind the scenes, the band kept things tight and true to their roots. The single was produced by Signo Rojo themselves, with mixing and mastering handled by Elias Mellberg, giving the track a raw but massive sonic punch that feels both deliberate and unfiltered.
This release marks the beginning of a heavy onslaught from the band in 2026, with more material locked, loaded, and ready to fire. If “Growth” is any indication, Signo Rojo aren’t easing into anything, they’re kicking the door clean off the hinges.
Release Date: April 17, 2026
Label: Majestic Mountain Records
Genre: Sludge/Doom Metal, Hardcore
Keep your ears open. This one doesn’t just hit hard, it lingers.


Connect: 
Website: https://signorojo.com/
Facebook: https://www.facebook.com/signorojo/
Instagram: https://www.instagram.com/signorojo/
YouTube: https://www.youtube.com/user/SignoRojoswe
Bandcamp: https://signorojo.bandcamp.com/
Spotify: https://open.spotify.com/artist/5NDCT0LD3UWaTNEBoGC4er
Apple Music: https://music.apple.com/gb/artist/signo-rojo/1449415688
Contact: info@signorojo.com

Faces Of Death looks like a fucked-up movie. The new horror flick is an adaptation of an old cult series of videos that were widely suspected to be actual snuff films in the ’80s. It opens in theaters today, and it’s director Daniel Goldhaber’s follow-up to the fucking awesome 2022 movie How To Blow Up A Pipeline. Former Euphoria star Barbie Ferreira, who’s also in the upcoming indie rock rom-com Mile End Kicks, stars as a content moderator in a plausible nightmare scenario where gruesome violence goes viral. But here’s what’s really unsettling about Faces Of Death: It’s got Charli XCX using an American accent.

The post Charli XCX Watches Snuff Film, Speaks In American Accent In <em>Faces Of Death</em> Clip appeared first on Stereogum.

Kurage, the new EP from Artist To Watch Mei Semones, comprises three collaborations. We heard her join forces with Liana Flores on “Koneko” and John Roseboro on “Tooth Fairy.” With the project’s full release today, we’re privy to the song she made with her dad. Don Semones is the featured guest on “Kurage,” the new…

The post Mei Semones & Her Dad Team Up On New Song “Kurage” appeared first on Stereogum.

Witch Ripper – Through The Hourglass (Magentic Eye Records) [Rich Piva]

Telling a cohesive story across an album is hard. Doing it over two records is even harder. But when you are storytellers like the guys in Witch Ripper are, you make it look (and sound) easy. It started on their amazing record The Flight After The Fall back in 2023 and continues, and possibly concludes, with the band’s new record, Through The Hourglass, which somehow tops what was one of the best records from that year. The story continues, but so does the awesome heavy, proggy melodic goodness that these guys from Seattle have come to be known for.

Part two of the epic journey begins as the last one ended, which is super cool, and which also leads to the absolutely crushing track, The Portal. The drumming on this record is insane and you hear that right off the bat. This is what metal should sound like in 2026, as Witch Ripper is the new standard bearer. The harsh and clean vocals work perfectly together and the way this record sounds is perfect. The unique thing about Witch Ripper is how a band that brings the heavy and brings it in this proggy, complex way, in songs usually over six minutes, is how catchy and melodic they can be. I mean, that bridge with the clean vocals? Awesome.

Not many bands can do heavy, complex, and melodic so well. The opening to Symmetry Of The Hourglass is the most metal thing you will hear this year in the most glorious fashion. These guys are compared to Mastodon a lot, and this song is one of the reasons why. The call and response between the harsh and clean voices rules here, but while you can hear Mastondon, this song is uniquely Witch Ripper all the way. I love the solo on this one too. Echoes And Dust continues the vibe with its chunky riff, insane drumming and proggy changes. My favourite track on the record is The Clock Queen.

From their last record, The Obsidian Forge was not only my favourite track on the album but one of my songs of the year. This is the same way I feel about The Clock Queen. The heavy, the melodic, the complexity, the skill level, the vocals, it is all just so great. Proxima Centauri slows the pace down a bit, perfectly sequenced as part of the story, but the build to when the quiet gets loud shows how much these guys get the prog side of things in the best ways.

The end of the journey is The Spiral Eye and it all makes so much sense. There are such amazing little details on this record of how it pushes the story forward and keeps the consistency across the two records. Things you may not notice the first time or even the tenth time you listen, but there is something new to discover every time and when you figure it all out, the genius of Witch Ripper is revealed.

The Flight After The Fall and now Through The Hourglass are stand alone amazing proggy metal records that hang with all of the big names out there who you may hear Witch Ripper compared to. Putting these two records together creates something that is so epic, so unique, and so perfectly executed that only a small handful of bands could pull it off. Witch Ripper is one of the bands who can, as they move into the upper echelon of heavy music out there today. 10/10

Masheena – Let The Spiders In (Majestic Mountain Record/Ripple Music) [Matt Bladen]

A Scandinavian band calling their debut album West Coast Hard Rock, is a bold claim but when it’s the perfect descriptor for their musical style then it’s hard to argue. The Bergen band featuring Luis Salomon (guitar/vocals), Tarjei A. Heggernes (bass) and Bård Heavy Nordvik (drums) on the album line up but they have expanded to a foursome live with Martin Holmes on drums and Heine A. Heggernes on guitar. This line up shift coming as their ‘West Coast Hard Rock’ is a bit more complex and layered on sophomore record Let The Spiders In.

The compositions are bolder and stadium reaching, ten tracks to highlight how this Norwegian act can deliver a sound that is so entrenched in the American rock scene. Let The Spiders In then refines what Masheena are about, it’s slick and shimmering but has heavy bones, moving between party grooves on ­­­­­You Owe Me, which is all dual harmonies to grunting, the Southern slide of Been Waiting, stoner slabs such as A Game You Don’t Wanna Lose and Riffy. The trio of Life Is But A Sin, Sarah Lost Her Way and In Her Eyes all have that reverb drenched approach of Chris Cornell’s solo stuff with nods to the Black Crowes as well, showing that behind the groovy rocking, Masheena can also give a more laidback atmosphere.

Leaning on Black Spiders, Spiritual Beggars, Tom Petty, and if you’re Welsh then the woozy haze of Super Furry Animals on Don’t Tell Her What To Do and One Eye, all via a lot of KISS harmonies, it’s a record that will get you grooving from the off with Southern blues rocking meeting arena filling melodies Scandi stoner fuzz. Let The Spiders In evolves Masheena’s ‘West Coast Hard Rock’ with a larger scale than before. 8/10

Neptune Power Federation – Mondo Tomorrow (Cruz Del Sur) [Rich Piva]

Is it possible to know what to expect from a band going in, but it still sounds different and is surprising and exciting every time? Records by the Australian band Neptune Power Federation are going to sound like NPF albums; big, bombastic, energetic, arena-worthy rock and roll. Even with that the band always goes just enough in another direction to make things interesting. From Heart, to Meatloaf, to doomy stuff, to power pop, to hair band leaning, to heavy metal, to proto, to glam, to just downright awesome, Neptune Power Federation rules no matter what they do. This hypothesis is confirmed with their latest record, Mondo Tomorrow.

You cannot talk about NPF without mentioning the amazing frontwoman, Screaming Loz Sutch. That voice, the energy, the costumes. She is all you want in a lead singer and so much more. Her vocals are amazing on Mondo Tomorrow (of course) with The Grip Of Death being a great example of her crazy range. Adding the organ to this track takes it to an even higher level of cool.

The opening track is power pop awesomeness from a band who is super tight and really knows what they are doing and what they are trying to achieve, and then making it even better. Loz harmonizing with herself at multiple crazy different ranges makes And The Bones Decay so great; the song lies just between power pop and 80s hard rock and just kicks ass. I love when the pace slows on this one too. Speaking of 80s hard rock, Living In The Gutter is one of the best songs in that style since 1989. So wonderfully sleezy.

Handclaps! If you like the Go Gos (I do) you will certainly dig Mind Controller. Cybernetic Times also has this 80s rock bop to it and is more killer energetic rock and roll, but has some layers and complexity to it; there is a ton happening on this song, all of it very cool. Rhapsody In Blue has this almost punk and psych weirdness going on but still the super catchy NPF you know and love. NPF are so good at ending albums with big, epic tracks. Mondo Tomorrow is no different with the six-plus minute killer The Barbarian Dominion.

I am sure I have said this in the two (or more) reviews I have done for Neptune Power Federation records, but this band just rules and Mondo Tomorrow is no different. The band is firing on all cylinders again, and continues to create amazing rock, leveraging bits and pieces of a dozen or so genres but always making it their own. NPF makes me happy and should do the same for you. 9/10

Waste A Saint – …And It’s Evergreen (All Good Clean Records) [Matt Bladen]

Coming from Trondheim Norway, Waste A Saint return with their third album …And It’s Evergreen. It’s one that come from a bit of adversity as just as they were starting to write the record their drummer left, meaning they not only had an album to write but a new drummer to find, which if anyone who has been near a band will know is no easy task.

Thankfully Bogey Stefansdottir (vocals), Alexander Skomakerstuen (guitar), Ole Nogva (bass/synth) recruited Trym Solan Renolen as their new drummer and he has injected something into the band that possibly wasn’t there before, there’s a bristling energy and renewed focus on album three, as if the band are reborn. …And It’s All Evergreen goes through a number of different musical phases to keep you guessing. Still the base layer is stoner rock but they bring a lot of 60’s psych or even some 70’s post punk while they also draw heavily from 90’s alt rock oddness, with the obtuse riffs and vocals definitely.

A positive change in line up then for Waste A Saint, as they focus down on going further than their influences may have allowed before, refreshed with a wider percussive prowess and a more comprehensive instrumentation, …And It’s Evergreen will leave a long lasting impression. 7/10

Witch Ripper – Through The Hourglass (Magentic Eye Records) [Rich Piva]

Telling a cohesive story across an album is hard. Doing it over two records is even harder. But when you are storytellers like the guys in Witch Ripper are, you make it look (and sound) easy. It started on their amazing record The Flight After The Fall back in 2023 and continues, and possibly concludes, with the band’s new record, Through The Hourglass, which somehow tops what was one of the best records from that year. The story continues, but so does the awesome heavy, proggy melodic goodness that these guys from Seattle have come to be known for.

Part two of the epic journey begins as the last one ended, which is super cool, and which also leads to the absolutely crushing track, The Portal. The drumming on this record is insane and you hear that right off the bat. This is what metal should sound like in 2026, as Witch Ripper is the new standard bearer. The harsh and clean vocals work perfectly together and the way this record sounds is perfect. The unique thing about Witch Ripper is how a band that brings the heavy and brings it in this proggy, complex way, in songs usually over six minutes, is how catchy and melodic they can be. I mean, that bridge with the clean vocals? Awesome.

Not many bands can do heavy, complex, and melodic so well. The opening to Symmetry Of The Hourglass is the most metal thing you will hear this year in the most glorious fashion. These guys are compared to Mastodon a lot, and this song is one of the reasons why. The call and response between the harsh and clean voices rules here, but while you can hear Mastondon, this song is uniquely Witch Ripper all the way. I love the solo on this one too. Echoes And Dust continues the vibe with its chunky riff, insane drumming and proggy changes. My favourite track on the record is The Clock Queen.

From their last record, The Obsidian Forge was not only my favourite track on the album but one of my songs of the year. This is the same way I feel about The Clock Queen. The heavy, the melodic, the complexity, the skill level, the vocals, it is all just so great. Proxima Centauri slows the pace down a bit, perfectly sequenced as part of the story, but the build to when the quiet gets loud shows how much these guys get the prog side of things in the best ways.

The end of the journey is The Spiral Eye and it all makes so much sense. There are such amazing little details on this record of how it pushes the story forward and keeps the consistency across the two records. Things you may not notice the first time or even the tenth time you listen, but there is something new to discover every time and when you figure it all out, the genius of Witch Ripper is revealed.

The Flight After The Fall and now Through The Hourglass are stand alone amazing proggy metal records that hang with all of the big names out there who you may hear Witch Ripper compared to. Putting these two records together creates something that is so epic, so unique, and so perfectly executed that only a small handful of bands could pull it off. Witch Ripper is one of the bands who can, as they move into the upper echelon of heavy music out there today. 10/10

Masheena – Let The Spiders In (Majestic Mountain Record/Ripple Music) [Matt Bladen]

A Scandinavian band calling their debut album West Coast Hard Rock, is a bold claim but when it’s the perfect descriptor for their musical style then it’s hard to argue. The Bergen band featuring Luis Salomon (guitar/vocals), Tarjei A. Heggernes (bass) and Bård Heavy Nordvik (drums) on the album line up but they have expanded to a foursome live with Martin Holmes on drums and Heine A. Heggernes on guitar. This line up shift coming as their ‘West Coast Hard Rock’ is a bit more complex and layered on sophomore record Let The Spiders In.

The compositions are bolder and stadium reaching, ten tracks to highlight how this Norwegian act can deliver a sound that is so entrenched in the American rock scene. Let The Spiders In then refines what Masheena are about, it’s slick and shimmering but has heavy bones, moving between party grooves on ­­­­­You Owe Me, which is all dual harmonies to grunting, the Southern slide of Been Waiting, stoner slabs such as A Game You Don’t Wanna Lose and Riffy. The trio of Life Is But A Sin, Sarah Lost Her Way and In Her Eyes all have that reverb drenched approach of Chris Cornell’s solo stuff with nods to the Black Crowes as well, showing that behind the groovy rocking, Masheena can also give a more laidback atmosphere.

Leaning on Black Spiders, Spiritual Beggars, Tom Petty, and if you’re Welsh then the woozy haze of Super Furry Animals on Don’t Tell Her What To Do and One Eye, all via a lot of KISS harmonies, it’s a record that will get you grooving from the off with Southern blues rocking meeting arena filling melodies Scandi stoner fuzz. Let The Spiders In evolves Masheena’s ‘West Coast Hard Rock’ with a larger scale than before. 8/10

Neptune Power Federation – Mondo Tomorrow (Cruz Del Sur) [Rich Piva]

Is it possible to know what to expect from a band going in, but it still sounds different and is surprising and exciting every time? Records by the Australian band Neptune Power Federation are going to sound like NPF albums; big, bombastic, energetic, arena-worthy rock and roll. Even with that the band always goes just enough in another direction to make things interesting. From Heart, to Meatloaf, to doomy stuff, to power pop, to hair band leaning, to heavy metal, to proto, to glam, to just downright awesome, Neptune Power Federation rules no matter what they do. This hypothesis is confirmed with their latest record, Mondo Tomorrow.

You cannot talk about NPF without mentioning the amazing frontwoman, Screaming Loz Sutch. That voice, the energy, the costumes. She is all you want in a lead singer and so much more. Her vocals are amazing on Mondo Tomorrow (of course) with The Grip Of Death being a great example of her crazy range. Adding the organ to this track takes it to an even higher level of cool.

The opening track is power pop awesomeness from a band who is super tight and really knows what they are doing and what they are trying to achieve, and then making it even better. Loz harmonizing with herself at multiple crazy different ranges makes And The Bones Decay so great; the song lies just between power pop and 80s hard rock and just kicks ass. I love when the pace slows on this one too. Speaking of 80s hard rock, Living In The Gutter is one of the best songs in that style since 1989. So wonderfully sleezy.

Handclaps! If you like the Go Gos (I do) you will certainly dig Mind Controller. Cybernetic Times also has this 80s rock bop to it and is more killer energetic rock and roll, but has some layers and complexity to it; there is a ton happening on this song, all of it very cool. Rhapsody In Blue has this almost punk and psych weirdness going on but still the super catchy NPF you know and love. NPF are so good at ending albums with big, epic tracks. Mondo Tomorrow is no different with the six-plus minute killer The Barbarian Dominion.

I am sure I have said this in the two (or more) reviews I have done for Neptune Power Federation records, but this band just rules and Mondo Tomorrow is no different. The band is firing on all cylinders again, and continues to create amazing rock, leveraging bits and pieces of a dozen or so genres but always making it their own. NPF makes me happy and should do the same for you. 9/10

Waste A Saint – …And It’s Evergreen (All Good Clean Records) [Matt Bladen]

Coming from Trondheim Norway, Waste A Saint return with their third album …And It’s Evergreen. It’s one that come from a bit of adversity as just as they were starting to write the record their drummer left, meaning they not only had an album to write but a new drummer to find, which if anyone who has been near a band will know is no easy task.

Thankfully Bogey Stefansdottir (vocals), Alexander Skomakerstuen (guitar), Ole Nogva (bass/synth) recruited Trym Solan Renolen as their new drummer and he has injected something into the band that possibly wasn’t there before, there’s a bristling energy and renewed focus on album three, as if the band are reborn. …And It’s All Evergreen goes through a number of different musical phases to keep you guessing. Still the base layer is stoner rock but they bring a lot of 60’s psych or even some 70’s post punk while they also draw heavily from 90’s alt rock oddness, with the obtuse riffs and vocals definitely.

A positive change in line up then for Waste A Saint, as they focus down on going further than their influences may have allowed before, refreshed with a wider percussive prowess and a more comprehensive instrumentation, …And It’s Evergreen will leave a long lasting impression. 7/10

The post appeared first on INFRARED MAGAZINE.

The new song arrives in advance of their upcoming Southern Hospitality tour. Continue reading…