Back in 2017, two different teenage Vallejo, California rap duos joined forces to form the group SOB x RBE, and they took off quickly with a hard, energetic style that felt like a fresh take on classic Bay Area sounds. By 2018, they were showing up on Kendrick Lamar’s Black Panther soundtrack. But the group’s run was chaotic, and they always seemed to be on the verge of breaking up before it really happened after the release of the 2019 album Strictly Only Brothers. That same year, former member Lul G was arrested for murder. In 2023, he was sentenced to 21 years in prison. Today, the remaining SOB x RBE members reunite for their first new single in seven years.
I haven’t been able to stop thinking about this gravel-pop track that came out earlier this week, and therefore I must blog. “Escalators” is the newest track from Leeds quartet Vehicle. It’s fuzzy garage rock that recalls ? and the Mysterians or the 13th Floor Elevators. Vehicle are honing a sound from the ’60s, similar to nostalgia-pop time travelers Sharp Pins. In fact, they’re about to open for Sharp Pins at a show in Manchester next month.
A few days ago, Boy George admitted to using “AI for good.” That “good” was a new reggae song in support of Israel’s genocidal regime. Now, that “good” is having some repercussions. Boy George’s manager announced that George is no longer participating in the production of Jesus Christ Superstar at London Palladium.
2026 has been Slayyyter’s breakout year. The St. Louis pop star released WOR$T GIRL IN AMERICA her third studio album, and first for Columbia, which we dubbed the best album of the year so far. It’s thrilling hedonistic pop, where the red rhinestones and fresh blood complement each other, that reminisces about the lost iPod era. Her stardom continues to expand, as does the album’s own hellish universe.
Eric Steckel has announced his new studio album, Sandstorm, which will be released on September 11 via OPEN / SPV Recordings. Along with the announcement, Steckel has released the album’s new single, “She’s A Golddigger,” a Ronnie Baker Brooks cover, which is available now on streaming platforms.
Steckel shared the news on social media, calling the new single “just plain fun.”
“‘She’s a Golddigger’ is just plain fun,” Steckel said. “It was one of the songs that I just couldn’t wait to record for this album and I can’t wait for you guys to hear it. The lyrics are just hilarious, very relatable, especially to those who are musicians or in the arts. But even if you’re not, I think you’ll get a kick out of this song.”
The guitarist also reflected on the recording process for Sandstorm, describing it as the most enjoyable album of his career.
“My forthcoming new album, ‘Sandstorm’ is the most fun I’ve had making a record in my career thus far,” Steckel said. “The incredible vibe in the studio brought forth tons of new and spontaneous material such as the title track ‘Sandstorm’ which instantly became my favorite track on this album and a perfect representation of this body of work.”
In support of the new release, Steckel will embark on an extensive international tour beginning August 6 in Switzerland. The run includes festival appearances and club dates across Switzerland, Germany, Romania, the Netherlands, France, Austria, Italy, the United Kingdom, Ireland and the United States before wrapping up October 24 in Phoenix, Arizona.
TRACK LISTING
When It Rains, It Pours
The Other Guy
Blues for the Lonely
What I Wanna Believe
Sandstorm
Empty Promises
El Paso Sugar
Axe to Grind
She’s a Golddigger
Back to Life
Eric Steckel 2026 Tour Dates
Aug. 6 – Maggia, Switzerland – Vallemaggia Magic Blues Aug. 8 – Monthey, Switzerland – Chablues Festival Aug. 20 – Schopfheim, Germany – Dreyland Bluesfestival Aug. 21 – Dărmănești, Romania – Blues in the Garden Festival Sept. 10 – Dordrecht, Netherlands – Bibelot Sept. 13 – Raismes, France – Raismes Fest Sept. 16 – Haarlem, Netherlands – Patronaat Sept. 17 – Heerlen, Netherlands – Poppodium Nieuwe Nor Sept. 20 – Hamburg, Germany – Nochtspeicher Sept. 21 – Berlin, Germany – Mikropol Sept. 22 – Hannover, Germany – Lux Club Linden Sept. 23 – Frankfurt am Main, Germany – The Bed: Live Music Club Sept. 25 – Pratteln, Switzerland – Z7 Konzertfabrik Sept. 26 – Mannheim, Germany – Guitar Summit Sept. 27 – Vienna, Austria – Chelsea Sept. 28 – Milan, Italy – Legend Club Sept. 29 – Munich, Germany – Backstage Oct. 2 – Edinburgh, Scotland – Sneaky Pete’s Oct. 3 – Manchester, England – Gullivers Oct. 4 – Nottingham, England – Rough Trade Nottingham Oct. 5 – London, England – Colours Hoxton Oct. 6 – Dublin, Ireland – Whelan’s Oct. 24 – Phoenix, Arizona – The Rhythm Room
Black Sabbath guitarist Tony Iommi has revealed that his good friend Brian May is the only guest musician to feature on his forthcoming solo album From the Dark.
Queen guitarist May makes his appearance playing the guitar solo on a song called Death Wake, which Iommi describes as “doom”.
In conversation with Rolling Stone, Iommi says that he didn’t want any other guests on the record, which finds him joined by vocalist Jørn Lande (Masterplan, Avantasia, etc.), bassist Becky Baldwin (Mercyful Fate) and drummer Karl Brazil (Robbie Williams) because he “wanted to keep it basically like a band”.
Asked by writer Kory Grow if May plays on any other songs on the record, Iommi replies, “No. I did say to him, Do you want to play on something else? He said, ‘No, no. Your solos are good. I don’t need to play’.”
“But it was great that he did,” he adds. “I just played him a couple of things, and he’d done it here at the studio in my house. Then of course he’d play something and go, ‘Oh, I don’t know about it’. I go, I like it.”
Iommi and May have been close friends since the early ’70s.
In 2022, the guitarist spoke to Classic Rock about rumours that the pair were set to collaborate on new material.
“We’ve talked about it for years, we really have, and the pandemic smacked everything up,” Sabbath’s guitarist revealed.”Brian came here to my house just before all that happened, and it was a lovely day, we sat outside in the courtyard and played riffs. I played him some of the stuff I’d got, and he said: ‘Oh, great, you’ve gotta do something with this.’
“And we’ve talked about it on and off. It would be nice one day to do that. He’s really busy now doing all sorts of things, and it’s great that he’s kept active. You can never say what’s gonna happen. It would be nice. I’m open for a lot of things now, really.”
Last Christmas, May gifted iommi a bespoke replica of his iconic homemade Red Special guitar.
Iommi took to Instagram to express his delight and gratitude at receiving the present from his “best friend”, posting “Christmas came early!”
Iommi attempted to launch a solo career in 1986 with the album Seventh Star, although record label obligations led to it being released under the banner of “Black Sabbath featuring Tony Iommi”. He went solo in earnest with 2000’s Iommi, which featured a large cast of guest musicians including Ozzy Osbourne, System Of A Down’s Serj Tankian, The Smashing Pumpkins’ Billy Corgan and Type O Negative’s Peter Steele.
His second and thus-far latest solo outing, 2005’s Fused, featured the more concrete lineup of Iommi, Deep Purple and former Sabbath singer/bassist Glenn Hughes and drummer Kenny Aronoff.
The first taste of the guitarist’s new record, single World Alone, was released earlier this week.
Of all the wars for the human soul being waged these days, the one over so-called artificial intelligence feels the most existential. It’s become impossible not to think about AI every fucking day, and it’s almost never by choice. Data centers are shooting up like weeds, obliterating fresh water supplies and creating psychologically torturous amounts of noise pollution. Every issue of the New Yorker these days seems to include a long, deeply reported story about how AI is sending people into psychosis, yet every time I find myself in a mixed group of civilians, someone makes an offhand comment about what they just asked ChatGPT to do for them — the grocery list, the vacation itinerary, or something else they were damn well capable of doing themselves before these tools rolled out. The global economy is currently being propped up by the bet that this objectively evil industry will become a sustained success, even as its express goal is to put people out of work by automating their jobs. The profits, if they come, will flow only upward. Things are going great.
A new, good Garry Brents album is as regular and welcome as the springtime sun. You know it’s coming eventually, but it feels just as refreshing every time. Following Sallow Moth’s tremendous 2025 album Mossbane Lantern, Brents progresses with a live drummer–his first in a while, and whose presence is apparent–and expands beyond the “Cynic but slam” concept deeper into the trees of progressive, unpredictable death metal.
After nearly 15 years of demos, EPs, and splits, Italy’s Into Darkness prepares to venture beyond the asteroid belt with its first full-length Route to the Other Side. The album pays homage to the Voyager and Cassini probes, ‘90s Dutch heavyweights like Asphyx and Phlebotomized, and perhaps even Gustav Holst, aiming to convey the splendour of the outer solar system through subtly atmospheric yet decidedly old-school death metal.
Dungeon Descent carves through a heavy metal coat of arms with a dingy, blackened knife. Torpor’s second album finds them accentuating ’80s heavy metal with occasional blast beats and carnivorous guitars. Check “Polybolos” to hear how the Polish group rides the line between epic and gloomy.
Supernova captures the imaginative spirit of folk metal while expanding Vera Lux’s musical world. The German band, led by vocalist Inara, whose expressive delivery deepens their storytelling, weaves traditional influences into modern heavy music, with violin adding an extra sense of character. Their latest offering opens the door to a realm of folklore and fantasy, where melody and atmosphere guide each track. Supernova highlights Vera Lux’s gift for blending theatrical elements with heartfelt songwriting.
Coven Japan return with Promised Land, a confident collection that further establishes the Tokyo traditional heavy metal band as one of the genre’s strongest modern torchbearers. Building on the foundation of their previous record, Earthlings, the band thrives on soaring twin-guitar melodies, energetic rhythms, and memorable choruses while drawing inspiration from classic NWOBHM without feeling derivative. Vocalist Risa Yuzuki brings a commanding presence to the album, delivering each track with power and clarity. Songs like “Samurai Rising” showcase both technical precision and anthemic songwriting, while guest appearances from Tomas “Witchfinder” Ericson (Helvetets Port) and Niels Bang (Animalize) add extra impact. Proudly rooted in heavy metal tradition, Promised Land delivers timeless riffs with energy and conviction.
Nine years ago, Viscera/// were tearing through walls to capture you and smash your head in on their last album, 3 | Release Yourself Through Desperate Rituals. The neocrust beast that it was showed the band could excel in various forms of metal: black metal, hardcore, sludge, post-metal, all pumped into a meat grinder that made every song exciting and unpredictable. With handfuls of the gathered genres and ideas, Viscera/// maintained a ferocity regardless of what pocket they were reaching in.
“Radiant”, the lead single for their new album, boldly stated that the edge had been softened – but not dulled. The song is a slow, sludgey departure into stoner metal that occasionally grips a dissonance but prioritizes melody. The repetition at the end of sung lines allows for a sing-along crowd who will assuredly pogo to the big arena rock guitar solo. The second single, “Autobeserk,” is a melodic hardcore anthem, delivering an even catchier chorus, repeatedly screaming, “I surrender!” Instead of throwing handfuls of ideas into the mix, Viscera/// are composing each song around one pleasant genre and getting the most out of it. The shift from the blistering fury of their last album to melodic crowd pleasers may turn off career-long fans, but for those who loved seeing them blend genres, you’ll be excited by the expansion of their musical expertise.
On their third record, Athens-based Ceremonial Worship do not reference Rotting Christ or Necromantia, much as you would expect a group with such a title to do. If anything, they herald lesser-known acts from the Hellenic scene (such as Kawir) for an earthy, less-melodic approach.
Despite the dense mixing and fracture-inducing riffs, The Salt Pale Collective envelope rather than overwhelm. They are tactful in their approach, knowing that too much could oversaturate. It’s all the more interesting considering how colorful their synths are and how heavy …and God said nothing is. All this makes the album a readily absorbable slab of post-metal.
With a fondness for simplicity and tradition, Tabernakel holds second-wave black metal close on their sophomore album. Scheintaufe is a product of its influences, thriving in the shadow of melodic Norwegian acts and dismantling the noise that often flavors the genre. Synths and fuzzy production would only water down Scheintaufe, so Tabernakel left them on the cutting room floor in what was an intelligent decision.
Yeah, these guys are definitely from Florida. Beyond serving a buffet tray of their home state’s finest death metal tastings (including frantic thrash and quixotic guitar solos), Hexorcist sneer similarly to the regional forefathers, playing as if they’re rebelling against commercial forces.
Fractal Sun explore themes of contrast, choice, and the moments that change a story’s direction on the concept album Divergent Paradox. The Costa Rican band weave harp and piano into their 8-string guitar-driven sound. “Blooming Regrets” captures a defining moment within the record, moving from intimate textures into a powerful vocal performance. Divergent Paradox reveals a band drawn to storytelling, using atmosphere and shifting arrangements to bring its narrative to life while incorporating both clean and harsh vocals.
From Resuscitation to Reincarnation is a long-awaited archival release by OG Finnish death metal gang, Convulse. The record collects the band’s 1990 Resuscitation of Evilness demo and 1992’s Lost Equilibrium EP. After a placid intro, “Putrified Intercourse” erupts into a murky barbaric avalanche of pure Finnish death metal. If you like that kind of thing, and you should, then this is for you. The Lost Equilibrium material sees the band add more conventional rock stylings into the mix. Mileage may vary there.
Punch someone as hard as you can and see if you can push your fist through their skull. There is a hatred toward mankind brewing in all of us and the burning anger found in Nothingness’ Godslaughter boils it to the top. The Minnesotan death metal act wants you to form that fist but aim it at someone meaningful. The rich, the powerful, those who grovel on their knees for them – they are who keep regular classes at odds with each other. As stated over frantic and dissonant chords, squealing as they’re strummed, “The gears of the sleepless beasts churn and break the will of all who oppose.” Godslaughter is a perfect vessel for this message: a sinister and heavy album that makes you want to destroy everything in sight. The music is guided by drums with three varieties: fast, super fast, or slowed for your muscles to overtake you. Vicious guitars, shrieks, and gutturals sit atop these patterns with brutality that orders you around. Run, run faster, and when it slows down, kill.
Norwegian melodic black metal veterans ISKALD return with “Curse of the Mind”, their sixth full-length album and the band’s first-ever concept record, set for release […]