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Social Distortion, Between the Buried and Me, Queens of the Stone Age and Flyleaf lead this week's new tour announcements. Continue reading…

Neil Sedaka, the singer and songwriter behind hits like “Breaking Up Is Hard To Do,” “Bad Blood,” “Laughter In The Rain,” and “Calendar Girl,” has died. “Our family is devastated by the sudden passing of our beloved husband, father and grandfather, Neil Sedaka,” his family writes in a statement to Variety. “A true rock and roll legend, an inspiration to millions, but most importantly, at least to those of us who were lucky enough to know him, an incredible human being who will be deeply missed.” No cause of death has been provided. Sedaka was 86.

The post Neil Sedaka Dead At 86 appeared first on Stereogum.

Part of the upcoming second season of the Netflix adaptation of the anime series.

The post Hear The HU Guest On New Track “Pray To The Sun” For Netflix’s ‘One Piece’ Series appeared first on Theprp.com.

‘Twas the night ’fore tomorrow, world leaders convened,

Each vying for patents on powers unseen.

With treaties half-written and handshakes half-shook,

They plotted dominion over resources untook. 

Anomaly Report have been at this since 1982, which means they’ve outlasted hairstyles, hard drives, and several apocalypses that were supposed to arrive by now. Forged in the basements and backrooms of Chicago’s hardcore fringe, they’ve grown into a many-headed creature with a taste for bass, brass, and bad news. They call it “brutalist neo-Soviet insomnia rock.” We hear music for people who read the headlines – and then bite the paper.

The bass leads the charge now, horns barging in like bureaucrats with brass knuckles. There’s a whiff of late-’80s experimental noise rock in the feral howls, and the dry-eyed sneer of contemporary post-punk agitators: Viagra Boys and IDLES come to mind. Somewhere in the scaffolding, you also catch echoes of The Wolfgang Press, Crime and the City Solution, and Foetus, those elegant merchants of unease who always knew how to make ugliness feel oddly refined.

Beautiful Terrible Things, their fifth full-length since 2020, stomps in with a barnyard panic. There’s a Snake in the Barn turns rural paranoia into a revival meeting gone rabid. Pitchforks flash, prayer circles spin, there’s a moo here and there – and then somebody suggests arson. The joke curdles fast. Fear spreads quicker than facts, and by the end, you’re eyeing your own hayloft. Wicked slinks through betrayal with a grin that shows too many teeth. Seduction curdles into self-recognition. By sunrise, corruption feels contagious. It’s a mean little mirror, and it laughs when you look. After this we hear a spoken word interlude in Dædalus’ Folly, musing about the modern ways we’re moving too close to the sun with our own creations: the machines.

Then comes Hey, Satan!: a stompy, lurching track that serves as part vaudeville routine, part therapy session. The devil shows up in nice shoes. The singer chats him up like an old drinking buddy, only to realize the real rascal is self-sabotage in a slick jacket. It’s funny; it’s uncomfortable, it’s the kind of song that winks while picking your pocket. Prick is two minutes of glorious self-indictment with a killer horn section. Immaturity is paraded proudly, admitting manipulation with a shrug. Beneath the bluster sits a plea: tell me I’m wrong.  I Kissed the Devil stretches out with a sinister piano bassline, swaying between temptation and recoil. Regret hangs in the air like cheap cologne. Somebody pours another glass at the edge of the world – and you can feel the bruise forming before the punch lands.

Side two spirals inward and outward at once. I Ain’t Over It (Beautiful Terrible Mix) loops regret in this remix from their previous album. My Anxiety stalks the bedroom at 3 a.m., alarm bells ringing in an empty house as it channels Tom Waits. Identity feels ill-fitting; the mind runs marathons with no finish line. The title track, Beautiful Terrible Things, widens the lens: tenderness and destruction share a zip code; underestimation becomes fuel. It’s a thesis disguised as a threat.

The Night Before Tomorrow might be the record’s bleakest laugh: leaders toast progress. Scientists scheme. Investors sing. One lone voice mutters, “We’re making a terrible mistake.” Nobody listens. Of course they don’t.

And then, a crooked grin at the curtain call: Here’s to Forgetting staggers in like a tipsy cabaret number. “Here’s To Forgetting was the first track we wrote for the LP,” says Durak Polezny. “It was a response to some personal tragedies we’d experienced recently, but where God Laughs addressed those same events with anger, Here’s to Forgetting uses humour to laugh through the pain.”

“Beautiful Terrible Things is about more than that,” Polezny continues. “It’s about everything going on around us in the world right now – the rush to incorporate artificial intelligence into our lives, the rampant violence, and increasing stupidity – and it’s about how we, as artists, respond to it.”

They respond with noise, nerve, and a raised glass. Play it loud. Play it twice.

Follow Anomaly Report:

• Website
• Instagram
• Bandcamp
• Spotify
• Apple Music
• YouTube Music
• YouTube

The post “History Repeats. Who Hears?” — Chicago’s Anomaly Report Chronicles Collapse on “Beautiful Terrible Things” appeared first on Post-Punk.com.

Punk In The Park is going dark. The multi-city punk-rock festival series has canceled all 2026 events, and according to a statement from organizers, the cancellation is due to the ongoing uproar over the owner’s donation to the Trump campaign.

The post Punk In The Park Cancels All 2026 Events After Backlash Due To Owner’s Trump Donation appeared first on Stereogum.

Once again produced by Ross Robinson.

The post Teenage Hardcore Band XCOMM Debut Video For “Hot Pursuit” & “One And Nothing” appeared first on Theprp.com.

You can find them out in April.

The post Lowheaven Announce Spring U.S. Tour With Drosera appeared first on Theprp.com.

A 2027 return is being eyed.

The post ‘When We Were Young’ Festival Will Sit Out 2026: “This Isn’t Goodbye – It’s Just A Pause” appeared first on Theprp.com.

Who says you have to be an angry, misanthropic motherfucker all the time when you’re in a death metal band? Especially when you can kick ass and take care of your common man like the dudes in Incantation. During their ongoing ‘Praise the Beast North American tour’, they’ve recently announced a food drive effort to help food insecure folks get the help they need.

At each of the remaining shows, the band is asking that fans bring non-perishable food donations — think canned food, dry goods, basically things that don’t go bad — at the door. There will be a donation box by the entrance where those donations can be collected.

Speaking with our friends over at Decibel Magazine, Incantation frontman John McEntee said part of the inspiration for this effort came about when an issue cropped up on tour that left Incantation without access to venue hospitality at each show. That resulted in the band not having meals for several nights.

“As a musician, I have had times when things have been tight, including the last few years, so I know how difficult it is to sometimes choose between medical bills and paying for food or housing. I understand this is the life I chose and, in fact, I’m proud of it,” says longtime frontman .

“The are others less fortunate who don’t even have the chance to afford food or shelter. So, I decided to have a food drive at the remaining shows on this tour and donate to the local food banks in the venues’ communities.”

In a Facebook reel posted yesterday, McEntee explained that this was a slapdash effort but he felt compelled to try to help local food banks at each stop. Though he admitted that they’re “just a freakin’ death metal band,” he said he wanted to help people the that need help.

“I know what it’s like, and I don’t want anybody on the face of the Earth to go through this. We have had so many people reach out with help after I made my last post about our hospitality issues, and all of us in the band appreciate all the kind gestures. The more I thought about it, the more I realized there are people in much more dire situations. We will get through our own stuff, but we need to help others. We need to give back. If you are local to these cities and can help us transport the donations, please reach out!”

So if you’re planning on catching the Belphegor, Incantation, Hate, and Narcotic Wasteland show at one of the remaining stops, be sure to bring some non-perishable foods and hygiene products/toiletries. If you’d like to attend one of the shows, check out the list of remaining dates below and get your tickets today. It’s for a good fucking cause.

02/27 Albuquerque, NM @ Launchpad
02/28 Haltom City, TX @ Haltom Theater
03/01 Houston, TX @ Scout Bar
03/02 San Antonio, TX @ Paper Tiger
03/05 Mesa, AZ @ The Rosetta Room
03/06 San Diego, CA @ Brick by Brick
03/07 San Francisco, CA @ DNA Lounge
03/08 Roseville, CA @ Goldfield Trading Post
03/09 Los Angeles, CA @ 1720
03/10 Anaheim, CA @ The Observatory

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The post Incantation Has a Food Drive Going as They Tour North America appeared first on MetalSucks.

Lamb of God has dropped “Blunt Force Blues,” the final preview of their upcoming album Into Oblivion, turning their focus inward as release day approaches. With the record arriving March 13 via Epic Records, the Richmond metal institution is revisiting the local scene that forged their sound more than 25 years ago.

Where earlier singles showcased the band’s trademark aggression, “Blunt Force Blues” feels personal—a reflection on community and longevity. Frontman Randy Blythe explained:

“We learned how to play by watching and hanging out with other local dudes. That’s what we aspired to do — keep up with good local bands. They were just as much of an influence on us as any of the bigger bands from different cities.”

Guitarist Mark Morton framed the track—and the album at large—as a creative reset.

“For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation,” he said, adding that the band has returned to a simple guiding principle: “Let’s just make music that we think is cool.”

Produced and mixed by longtime collaborator Josh Wilbur, Into Oblivion was recorded across locations deeply tied to the band’s identity. Drums were tracked in Richmond, guitars and bass at Morton’s home studio, while Blythe cut vocals at Total Access Recording in Redondo Beach—the historic room that once hosted foundational punk releases from Black Flag, Hüsker Dü, and Descendents.

The album rollout has been relentless. “Sepsis” paid homage to the early ’90s Richmond underground, with Consequence praising Morton’s “bruising” riffs and comparing Blythe’s delivery to a “heavy metal Nick Cave.” “Parasocial Christ” followed—dubbed an “anti-tech thrasher” by Revolver—before the ferocious title track earned acclaim from Metal Hammer and Brooklyn Vegan alike.

To mark release weekend (March 13–15), Lamb Of God have partnered with more than 140 independent record stores nationwide for listening parties featuring exclusive merch, giveaways, and an indie-only “Poltergeist” vinyl variant. Pre-orders are live now, including limited vinyl editions and a collectible CD paired with a companion zine of handwritten lyrics and studio photos.

The Into Oblivion North American tour launches March 17, with support from Kublai Khan TX, Fit for an Autopsy, and Sanguisugabogg — a lineup poised to make it one of 2026’s heaviest treks. Additional festival appearances include Wacken Open Air, Bloodstock Open Air, and Summer Breeze Open Air.

After 25-plus years, Lamb Of God are circling back to where it all began, and hitting just as hard.

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