All Things Go DC returns to Merriweather Post Pavillion this September for its 12th year. Last week it was announced that Hayley Williams (“the Hayley Williams Show”) and Mitski would headline the three-day festival, and today the full lineup has been revealed, with notable inclusions like Ethel Cain, Zara Larsson, and Slayyyter.
The post All Things Go DC Announces 2026 Lineup appeared first on Stereogum.
Australian progressive metal band TERAMAZE is getting closer to releasing their 13th studio album, The Silent Architect, this Friday, May 8th, 2026, through Wells Music. It continues a prolific period for the band, with 8 releases since 2019, including two in 2024. Following two hard-hitting singles so far with “The Invisible Countdown,” “Mr. Crazy,” and “Arrow,” TERAMAZE now unveil “Enemy In The Garden,” the latest single from their upcoming album The Silent Architect.
Built around the timeless narrative of Adam and Eve, the track explores temptation and consequence through a modern progressive lens—balancing restraint with intensity. Featuring keyboardist Matt Guillory (James LaBrie), the song expands the band’s sonic depth while maintaining its core power.
Video directed by Wayne Joyner (Sevendust, Dream Theater, Alter Bridge). This is TERAMAZE at their most focused, cinematic, and deliberate.
“The Silent Architect wouldn’t be lyrically and thematically complete without ‘Enemy in the Garden’. It drives the core themes in the album in the most potent way possible, reflecting our shortcomings back at us.” N Peachey | Vocalist
Watch the video for “Enemy in the Garden” here:
Pre-order ‘The Silent Architect’ here:
https://teramaze.com.au/shop/
Tracklisting:
1.The Silent Architect 10:13
2.Doors of Yesterday 4:24
3.The Invisible Countdown 8:37
4.Mr Crazy 3:37
5.Arrow 4:50
6.Dust & Bone 4:24
7.Enemy In The Garden 8:30
8.Ghost Hands 5:25
9.Left In The Fire 11:56
TERAMAZE is:
Dean Wells – Guitars / Vocals
Nathan Peachey – Vocals
Andrew Cameron – Bass Guitar
Nick Ross – Drums
The post TERAMAZE return with cinematic new video “Enemy In The Garden” appeared first on The Prog Report.
An arpeggio opens this song, accompanied by a subtle banjo and bass. The moment the vocals enter, you realize the song will be quite emotional. It is a straightforward ballad that reaches your heart, dedicated to a devoted skateboarder and drummer who passed away.
What I appreciate about this song is its live recording in a room; the emotions are genuine. It is not one of those songs crafted from artificial intelligence and synthetic sounds. This song represents music meant to convey sincere emotions. You can feel that this band has chemistry when they play together. The acoustic version of this track showcases their affinity perfectly.
This minimalist song evokes memories of 1990s bands while delivering a rich emotional experience. The melody is intensely heartfelt, just like the lyrics. Maintaining high attention during a song with so few components is not easy, but these musicians succeed due to the strength and intensity of the melody.
The production resonates with authenticity. The listener can sense the passion behind every strum. The banjo adds a unique texture, enriching the overall experience. These elements combine to create a sense of intimacy throughout the track.
The simplicity of the arrangement allows the lyrics to shine. As the song progresses, you are drawn deeper into the narrative it presents. Each note feels like a tribute to the skateboarder, painting a vivid picture of life and loss. The heartfelt delivery of the vocals enhances the emotional weight carried by the lyrics.
Listeners can appreciate the genuine artistry present here. The decision to record live creates a raw edge that many polished tracks lack. This choice encapsulates the spirit of the band and their ability to convey authentic feelings through their music.
The structure of “Open Waters” stands out in a world filled with formulaic music. It challenges conventional song dynamics while inviting listeners to embrace a journey through sound. The narrative reaches deep inside, making you moveingly ponder loss and remembrance.
When you listen closely, the details come alive. Small nuances in the performance speak volumes, making this not just a song but a heartfelt reflection.
Simplicity does not equate to a lack of depth; rather, it allows the listener to focus on the core emotions. This simple yet powerful arrangement speaks volumes about the band’s understanding of their craft.
“Open Waters” illustrates how music can evoke emotions without needing elaborate production. It defies modern trends that often emphasize perfection over feeling. Instead, this track showcases the richness that can develop from heartfelt performance and honest songwriting.
Deep
If you love this music: Discover MoreThe post Tree City USA Open Waters Review appeared first on Edgar Allan Poets – Noir Rock Band.
CENTEREACH, NY — In a stunning reversal of last month’s “toxic” allegations, former Suffocation drummer Eric Morotti has issued a formal public apology to his former bandmates. After a decade as the rhythmic engine for the Long Island death metal pioneers, Morotti’s return from a touring stint with Sanguisugabogg has brought a significant shift in tone, moving from incendiary accusations to a plea for professional reconciliation and a total retraction of his previous statements regarding the band’s internal culture.
The friction began in April 2026 when Morotti took to social media to announce he was leaving Suffocation to “prolong his health” and maintain his “integrity.” His initial statement was a scorched-earth critique of the band’s internal dynamics, where he claimed he could no longer work with “toxic, abusive drug addicts.” The impact was immediate, threatening to tarnish the nearly 40-year legacy of one of death metal’s most respected institutions. The extreme metal community was left reeling, as Morotti had been a stable and highly respected member of the lineup for ten years.
Suffocation was quick to respond, refuting Morotti’s narrative with a statement of their own that painted a very different picture of the split. The band clarified that the drummer had not resigned of his own volition but was instead terminated by the group. They cited insurmountable scheduling conflicts stemming from Morotti’s role as a touring drummer for Sanguisugabogg, suggesting that his original “incendiary” post was an emotional reaction to the news of his firing rather than a proactive moral stand.
After several weeks of silence while on the road, Morotti has returned home with a completely different perspective. In a new statement, he took full responsibility for the “hurtful” nature of his previous communications, acknowledging that his delivery lacked the professionalism expected of a veteran musician. The drummer noted that the time away allowed him to reflect on the impact of his words, not just on the band members themselves, but on the massive fanbase that has supported Suffocation since the late 1980s.
“Now that I’ve returned home from tour, I want to address my post about Suffocation, and sincerely apologize for how I handled things,” Morotti stated. “I used language that was hurtful and disrespectful, and I regret that. I should have communicated it without attacking or speaking negatively about others.”
He emphasized that his goal is to move forward with “more respect, clarity, and professionalism,” signaling a desire to close the chapter on a positive note. For a drummer who spent a full decade contributing to the band’s technical evolution and live intensity, the apology serves as a vital step in preserving his standing within the tight-knit global metal community.
“I take responsibility for my words and understand the impact they can have—not just on the people involved, but on everyone who follows and supports me. That’s not how I want to represent myself,” he continued.
The apology further emphasized his desire to move forward with a focus on professionalism, acknowledging the impact his words had on both the band and the fans who have supported him over the last decade. He concluded his statement by reaffirming his love for the members of Suffocation, calling them “brothers” and expressing gratitude for the albums and tours they shared during their ten-year run together.
“I wish them nothing but the best and am very grateful for the tours, albums, experience I had with them. I love them all sincerely like brothers.”
This reconciliatory tone is a far cry from the “abusive” label used just weeks prior. While the professional split remains permanent—and the band moves forward with their current touring plans—this public olive branch likely preserves the legacy of Morotti’s ten-year tenure. Fans of Suffocation can now look back at his contribution to the band’s sound, including his work on their recent critically acclaimed releases, without the cloud of a bitter, unresolved feud hanging over the music.
While the apology mends some of the reputational damage, the professional split remains final. Suffocation continues to move forward as leaders of the New York death metal scene, maintaining a rigorous schedule that demands absolute commitment from their rhythm section. The band’s ability to weather such a public storm and remain focused on their craft is a testament to the iron-clad foundation built by the original members decades ago.
Morotti, meanwhile, remains a high-demand talent in the scene. His work with Sanguisugabogg has been met with critical acclaim, and his ability to tackle the most demanding drum parts in the genre ensures he will not be absent from the stage for long. The death metal community often sees these types of high-pressure departures, but it is rare to see such a candid and humble reversal so shortly after the fact. As of now, Suffocation has not issued a public response to the apology, though the cooling of public tensions suggests that both parties are ready to let the music speak for itself.
Suffocation is a legendary New York death metal band formed in 1988 in Centereach, Long Island. Known for inventing the “slam” subgenre and their extreme technical proficiency, they remain a cornerstone of the global metal scene with a career spanning over three decades and multiple landmark albums such as Effigy of the Forgotten.
STAY LOUD: Catch the full breakdown of the latest metal news every day on the Loaded Radio Daily Podcast, or crank the hard rock and metal 24/7 on our 24/7 LIVE digital stream.
View this post on Instagram
View this post on Instagram
The post EXPLOSIVE RETRACTION: Eric Morotti Issues Public Apology to Suffocation Following Contentious Exit appeared first on Loaded Radio.
Musician, actor, and celebrated 80s icon Courtney Gains, is building momentum on the music charts with two new singles beginning to break nationally.
Gains’ track “Wander & Dream” has been steadily climbing the SMR (Secondary Market Radio) charts, reaching #61 this week. The single “Been Forgotten” has spent the last two weeks sitting at #87 on the Top 40 Radio charts, following a recent surge from the #103 spot.
Both songs are set to appear on Gains’ forthcoming album, Liberation Day, scheduled for release this August on Curtain Call Records.The album will also feature “Fear the Boogie,” initially released last fall as part of the soundtrack for Gains’ upcoming film “The Barn III.” The retro slasher film will premiere May 23 in Pittsburgh, PA.
Stream Courtney Gains on Spotify and Apple Music.
Watch the video for “Fear the Boogie” at: https://youtu.be/nLpFdgnZ60g
Live appearances are also on the horizon, with Gains set for September dates opening for Lita Ford, followed by an appearance on the Boo’s Cruise in October.
Courtney Gains Live Dates:
9/31 – 9/7 – Smokin’ Cole’s Bike Rally & Rodeo w/ Lita Ford – Bloomville, OH
10/28 – 11/1 – Boo’s Cruise – Margaritaville Islander at Sea
Follow Courtney Gains on Instagram and Facebook for updates and additional live appearances.
About Courtney Gains:
2024 saw Gains celebrate the 40th anniversary of Children of the Corn with a slate of horror-con appearances and a 35MM screening of the film at the Sitges Film Festival in Spain, regarded as the biggest horror/sci-fi festival across Europe. Recent projects include The Wrath of Becky, Thy Will Be Done, October 31, Christmas Cowboy, and a standout role in the heavy-metal-infused horror film, Infernal. The Grime House Films production won Best Horror Feature Film at the Clout Film Fest. Watch the trailer here.
The screening for Infernal took place at the infamous Bastrop, TX gas station featured in the 1974 classic The Texas Chainsaw Massacre. Gains and his band played an exclusive set at the event. A live recording of the performance is forthcoming.
In 2023, Gains released his Safe Haven EP, a six-track blend of rock, folk, and Americana that highlights his gritty vocals and honest songwriting. The critically acclaimed record captures a raw, roots-driven sound that reflects Gains’s hands-on approach and unfiltered style
www.instagram.com/courtneygainsofficial
Courtney Gains Group on Facebook
Source: ClawHammer PR
Once upon a time, Parts & Labor might’ve been the catchiest noise-rock band in the land. The New York group always went crazy with serrated synth-blurts and overdriven drumming. But they also belted out huge and hearty rock songs, and their hooks would always shine through the effects. After breaking up and playing their final…
The post Parts & Labor – “Haunted Limbs” appeared first on Stereogum.