We almost got to hear Jimmy Fallon drop the F-bomb on The Tonight Show. Fcukers, the New York City electronic party-pop duo, were the musical guest last night; they played “I Like It Like That” from their upcoming album Ö. Fallon called them F-U-C-Kers even though that’s not how Fcukers spell their name. The day…
The post Fcukers Make TV Debut, Share New Song “if you wanna party come over to my house” appeared first on Stereogum.
Norway’s Blodørn understand that, at its core, black metal is unearthly. Yes, the genre’s synths and over-the-top aesthetics can teleport you to a cathedral, be it profane or sacreligious, but its skeletal nature is even better suited to remove you from the current world, not so much dropping you in a specific place but creating a vacuum of location and time, an unconfined, undefined space, and asking you to find something in a fog. Blodørn’s third album, Det Finnes Ingen Trone, reaches for that goal. It plays with a similar sonic ideology as the usual handful of influential Norwegian acts, but, thankfully, is downstream from said handful’s extremity, sitting somewhere more traditionally “listenable” and, somehow, wisened.
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Adhering to the standards of Norwegian black metal comes naturally to Blodørn because they’ve been around since the genre’s heyday, in a sense. They’re an offshoot of Ulvhedner, who are by no means a prolific band but whose debut dates back to 1995, which two of Blodørn’s main members, Svein Terje Solvang and Arild Hodne, performed on. The withered texture on Det Finnes Ingen Trone is then apropos, although it’s intentional and to its benefit. Growls instead of screams, short bursts of speed followed by tempos that lower their heart rate, and a reliance on guitar melodies are the record’s uniting features. Yet, despite the overall homogeneity, Blodørn avoid feeling iterative or repetitive, instead coming off as consistent because of how they implement their, admittedly, narrow toolkit.
In fact, Blodørn excel when they lean into the repetitiveness and take their time constructing weary atmospheres. For instance, “Knokkelklang” boasts a tried-and-true tremolo-picked riff opening that Blodørn meditate on for over a minute, soaking in it even, to the point that it loses its immediacy and inverts into a framing device for the next five minutes. It’s one instance among many of the group sticking to an idea for longer than what common sense would dictate, and their investment paying dividends.
Such pacing asserts that the individual differences between tracks on Det Finnes Ingen Trone matter less than its overall impression. Songs rarely evolve into something mightier than their original forms. Rather, they gather strength through subtle progressions. Although, Blodørn perform best when they contrast with themselves more strongly, like when “Blodslit for Lit” begins decaying at a moment’s notice, eventually paying off in a grimy riff minutes later. “Vandrar Av Rang” employs a near-identical strategy to equally satisfying returns.
Yet, as implied, stark transitions occur infrequently, as if Blodørn are so dialed into their craft that any new ideas cannot become more than window dressing. The synthesized organ intro to “Svarte Djuv, Kast Dem Ned” is dealt the most debilitating blow in this regard as it’s relegated to a six-second feature. It’s promising, yet its current husk is superfluous, its presence adding nothing but placing a “road under construction” sign at the track’s beginning. Moments like these, though rare, frustrate if only because one wants to bother Blodørn to loosen up.
Stubbornness is both Det Finnes Ingen Trone’s boon and bane. It’s baked into the record, presented as determination that only comes from aging. It turns black metal’s requisite iciness into a mild but enveloping frigidity, being heavy and explosive but radiating no warmth. Det Finnes Ingen Trone greys that was once pitch black, muting and reducing much of the high contrast of black metal’s scuzzy roots into something both more approachable and less dire. Most importantly, however, it’s a more mature variation of the same isolation that marked early black metal. Many of the riffs and moment-to-moment excitement Blodørn present aren’t memorable, by design, because they’re not working for instant gratification. That’s a knock against the group in some regards, of course, but they also pursued a different muse. They aimed for rustic, lived-in, and familiar, and embellished those qualities until they resonated, coming at ambition’s cost.
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Det Finnes Ingen Trone is available now via Solistitium Records.
Almost exactly one year ago, SASAMI released her album Blood On The Silver Screen. Today, she’s announcing a new deluxe edition called Blood On The Silver Screen: Director’s Cut. It’ll include the version of “Just Be Friends” with Soccer Mommy, and it’ll also have some remixes from friends and collaborators, including Patti Harrison, the comedian…
The post Patti Harrison Remixed SASAMI’s “I’ll Be Gone” appeared first on Stereogum.
Bruce Hornsby and Bonnie Raitt go way back. Hornsby played piano on Raitt’s ultra-classic 1991 ballad “I Can’t Make You Love Me,” and Raitt sang backing vocals on a couple of tracks from Hornsby’s 1993 album Harbor Lights. Now they’ve reunited for a beautiful, charming, surprising single from Hornsby’s forthcoming album Indigo Park. “Ecstatic” is…
The post Bruce Hornsby – “Ecstatic” (Feat. Bonnie Raitt) appeared first on Stereogum.
There are death metal bands who chased trends. And then there are bands like Deteriorot—who stayed in the shadows long enough to become part of them.
Formed in the late ’80s, Deteriorot have always operated in that suffocating space where doom-drenched atmosphere collides with American underground brutality. They never pivoted. Never softened. Never polished the edges off what made them dangerous in the first place. And now, nearly four decades deep, they return with a new video for “Fallen Misery,” the exclusive single from Echoes From The Past—out February 4 via Faithless Entertainment.
“Fallen Misery” sounds exactly like it should.
The guitars crawl forward in thick, oppressive waves—less concerned with speed than with weight. Frontman Paul Zavaleta’s vocals don’t roar so much as exhale something ancient and malignant. The song moves with the patience of a ritual: deliberate, methodical, suffocating. Fans of Immolation and Incantation will recognize the tension immediately—those slow-burning chord shapes that feel like they’re folding the ceiling inward.
The accompanying video leans into that atmosphere rather than distracting from it. Stark, shadow-heavy visuals amplify the song’s oppressive mood, reinforcing what Deteriorot have always done best: creating death metal that feels cavernous and almost liturgical in its darkness. It’s not flashy. It doesn’t need to be. The power comes from immersion.
The Echoes From The Past deluxe vinyl edition is more than a reissue—it’s a consolidation of legacy. Long revered in underground circles and hailed by outlets like Blabbermouth as essential death metal history, the compilation captures the arc of a band that refused compromise. For devotees of doom-laced extremity—and even those who appreciate the mournful grandeur of My Dying Bride—this release underscores why Deteriorot remain foundational to the darker strain of U.S. death metal.
If anything, “Fallen Misery” proves that time hasn’t dulled their edge. It’s sharpened it.
Watch the premiere of “Fallen Misery” below and experience a band that never left the abyss—only learned how to command it.
The post Video Premiere: Deteriorot – “Fallen Misery” appeared first on Decibel Magazine.
Ace Frehley collaborator joins Sebastian Bach-fronted lineup for select shows, Joe Franco appears to be out of the reunion.
The post TWISTED SISTER Recruits ACE FREHLEY's Drummer For Upcoming Reunion Shows appeared first on Metal Injection.
Glassjaw have revealed that they are going to be bringing a bit more chaos to the masses whilst they are in the UK later this year.
The band are due to play 2000trees Festival in July, and have added a little extra appearance at London’s Electric Ballroom on the 10th.
It will be the band’s first headline show in the country since 2022, where they celebrated their classic albums ‘Everything You Ever Wanted To Know About Silence’ and ‘Worship and Tribute’ by playing them both in full.
Tickets for this experience, which the band have beckoned you to, “Feel free to participate” at, will be on sale from March 06 from this very link.
2000trees will be taking place at Upcote Farm, Cheltenham, between July 8-11. As well as Glassjaw, you will also get to see Alkaline Trio, Funeral For A Friend, Cancer Bats, Superheaven, Dinosaur Pile-Up, House Of Protection, High Vis, Marmozets, Arcane Roots, Militarie Gun, The Scratch, Mariachi El Bronx, The Bronx, As Everything Unfolds, Petrol Girls, The Skints, A, Anthony Green, Dead Pioneers, Arcane Roots and many MANY more.
Tickets are available now from here.
The post Glassjaw Announce Intimate UK Headline Show appeared first on Rock Sound.