Sturgill Simpson’s Mutiny After Midnight — released under his Johnny Blue Skies alias — was one of the best albums of the year. At first it was only available physically (though it was briefly on YouTube), but today is the country-rock maverick’s birthday and to celebrate he put it on streaming with a bonus cover.
The post Sturgill Simpson Puts Johnny Blue Skies’ <em>Mutiny After Midnight</em> On Streaming With A Bonus Cover appeared first on Stereogum.
Uhhhh… Well, this one caught me completely off guard.
When I saw Blood Incantation had released the soundtrack to their own documentary, I honestly wasn’t expecting to spend much time with it. A soundtrack album from a death metal band isn’t usually something that ends up in regular rotation. Then I put it on.
The first surprise is how little this feels like a soundtrack. The second is how little it feels like Blood Incantation, at least on the surface. There are no riffs, no growls, no moments where the band suddenly remembers they’re supposed to be one of the most talked-about death metal acts of the last decade. Instead, All Gates Open drifts through more than an hour of analog synths, slow-moving melodies and long stretches of atmosphere.
“Balance” takes its time getting anywhere, but that’s exactly why it works. Nothing feels rushed. The music unfolds so gradually that after ten minutes you almost stop paying attention to individual sounds and start following the overall mood instead. “Flight” introduces a little more tension, while “Dawn” might be the most understated piece here. By the time “Rain” arrives, the album feels completely detached from the world outside your headphones.
What struck me most is how warm the whole thing sounds. A lot of modern ambient music can feel distant or clinical. This doesn’t. Everything breathes. The analog recording approach gives the album a soft, organic character that suits the material perfectly.
I kept thinking back to Timewave Zero while listening. That record already hinted that Blood Incantation were interested in exploring territory far beyond death metal, but All Gates Open feels even more comfortable in its own skin. There’s no sense that the band is trying to prove anything. They simply follow the music wherever it wants to go.
I also wouldn’t call this challenging ambient music. Plenty of artists working in the genre aim for discomfort, tension or abstraction. Blood Incantation seem more interested in creating space. There were moments when I realized several minutes had passed without me really thinking about anything at all, which is probably the highest compliment I can give a record like this.
Will every Blood Incantation fan enjoy it? Probably not. Anyone showing up expecting Absolute Elsewhere Part II is likely going to be confused. But for listeners who appreciate the band’s more exploratory side, there’s a lot to enjoy here.
More than anything, All Gates Open feels honest. Not like a side project, not like an experiment, and definitely not like a contractual soundtrack release. It feels like music the band genuinely wanted to make. That’s probably why it works so well.
Why the hell did I write this review when I’m not a fan of this kind of music at all? Hell if I know! Maybe it’s because I’m a fan of the band’s death metal albums, so I was curious to see what the hell they decided to do this time in their history.
https://www.facebook.com/BloodIncantationOfficial
Electric Callboy have recruited punk rock institution The Offspring, and an absurdly stacked cast of cameos, for their new single "Let The Good Times Roll," the latest preview of their forthcoming album TANZNEID, due August 7 via Century Media Records.
The track is full of classic Electric Callboy elements: crushing riffs colliding with massive pop hooks, electronic flourishes, and the kind of tongue-in-cheek energy that has made the German six-piece one of heavy music's most entertaining live acts. Dexter Holland (of The Offspring) adds instantly recognizable vocals that slot into the chaos like they were always meant to be there.
The accompanying music video was filmed in Los Angeles and goes full send on the band's signature brand of absurdity. Comedian and television personality Howie Mandel, actor and comedian Brian Posehn, and metal icon John Goblikon all show up to embrace the mayhem, turning the clip into a highlight reel of gleeful nonsense.
For Electric Callboy, the collab carries real emotional weight. The band described the partnership as nothing short of surreal, noting that The Offspring's music helped shape them long before Electric Callboy even existed. Getting to share a track with one of their biggest early influences makes "Let The Good Times Roll" a full-circle moment.
Dexter Holland, for his part, was equally enthusiastic. He described the song as immediately putting a grin on his face, calling it energetic and unpredictable—the kind of spirit that drew him to punk and rock music from the very beginning.
The single arrives as Electric Callboy storms into the European festival season, fresh off a nearly sold-out North American headline run. Rock am Ring, Rock im Park, Download Festival, and Graspop Metal Meeting are all on the calendar before the summer is out, followed by headline dates in Japan and Australia. The entire world tour builds toward Escalation Fest 2026 in Berlin, the band's massive hometown celebration at Parkbühne Wuhlheide on August 8, where they'll perform TANZNEID live for the very first time.
Electric Callboy is also launching a global scavenger hunt tied to the album's release. Mysterious Pink Boxes will begin appearing at festivals, cities, and unexpected locations around the world. Most contain exclusive rewards. A select few hold a Golden Ticket: lifetime complimentary access to Electric Callboy headline shows worldwide for the finder and a guest. The hunt can be tracked in real time on the interactive World of TANZNEID map.
TANZNEID arrives August 7.
Thanks for reading!
If you enjoy ear — whose Rumspringa received our Album Of The Week honor last month — then listen up. Lockimara is the project of New York-via-Toronto artist Nicholas Gay, who’s providing a similar brand of dreamy electronic earworms. Last month he announced his sophomore album Only Sun, Only Moon and shared the lead single “December,” and now he’s back with “Tastes Like.”
The post Lockimara – “Tastes Like” appeared first on Stereogum.
Welcome in to another edition of our monthly release spotlight! Check out our full review of the new offering from Necropia, and read on below for the May albums we think deserve some extra love.
Infected Dead – Invicta
Technical death metal from the UK
One of the perks of starting the month on a Friday is that sometimes—sometimes—you can squeeze an extra paycheck out of the month (okay, not really “extra,” but it can feel like it). Another perk is that you get a whole extra release day to dig into new music. One such example is the latest release from England’s Infected Dead, an absolute scorcher of an EP and the perfect way to kick off a brand new month. Chock full of riffs, hooks, and solos, the band wastes no time in smashing your eardrums into a bloody, oozing pulp. And once the beating is over—after about twenty minutes or so—you can’t help but say, “Please, sir…can I have some more?”. Because it’s just that damn good.
-Kirk
Prisonnier du Temps – Prendre le Pouvoir par la Force
Oi! from France
Gonna have to own up to the fact that I was very late to the French Oi! party but I finally got around to checking out Syndrome 81’s 2022 full-length Prisons Imaginaires a couple of months ago and it is easily my favourite “discovery” of the year so I was super stoked to hear that their bassist Jacky Cadiou had another album coming out under his Prisonnier du Temps side/solo project. The title translates to “Seizing Power by Force”, and you can tell that there’s something revolutionary in the air as Cadiou combines the fury and intensity of hardcore with huge woah-driven melodies that evoke a sense of comrades in arms and marching in streets and the feeling that there’s more of us than there are of them. Just to be clear as well, he’s not on some lame Jan 6 type shit—check out his only quote in the press notes: “The world moves forward with its eyes closed and Gaza burns, forgotten… In pain and tears, children fall unarmed…”
-Ellis
Furnace Floor – Ceremonial Passage Through Fire
Blackened death/doom from the US
I’d never heard of Furnace Floor prior to throwing the record on, but as it turns out they’ve delivered one of my absolute favorite listens of the year so far. Ceremonial Passage Through Fire is downright harrowing, a hellish excursion into the stygian pits of nightmares, towering and lurching, smoldering with fury and burned black as ash. The songs are lengthy, arduous journeys, leaning on searing riffs and brutal roars to conjure images of infernal landscapes, charred to complete bleakness. It’s visceral, arresting stuff, and it’s the best death/doom I’ve heard in 2026 by far.
-Kep
Abuser – Blood Marks
Thrash metal from Poland
As a general rule, those of us here at Noob Heavy do not support abusers. However, Poland’s Abuser does not actually consist of abusers (alleged or otherwise), but instead thought of a clever name to describe the relationship their music is about to have with your neck, shoulders, and eardrums. Blood Marks is a no-holds-barred, full body experience. Your body will be compelled to mosh, so please be aware of your surroundings. Your neck will almost certainly succumb to an overwhelming urge to swing your head in a wide circular motion, sending your hair whipping around with enough force to rustle leaves or loose pieces of paper. And you will undoubtedly emit an, “UGH!”, or two—if not more—throughout the album’s runtime. Don’t be alarmed, this is perfectly normal. In fact, I think this was the plan all along….
-Kirk
Tyrannus – Mournhold
Black/thrash metal from Scotland
Weird to think it’s been four years since Unslayable and two and a half years since Tory Punching Music were gifted to us by the ever benevolent and incessantly antifascist Tyrannus, but here we are. Admittedly, it’s been a minute since I’ve blasted either album, distributed in the U.S. ever so lovingly by your friend and mine, Fiadh Productions, but what I do remember is more of an unrefined, “vibes-forward” blackened thrash that cared less about form and more about attitude. But Mournhold is a beast of a different breed, taking a much more ‘80s approach to thrash and toning down the black metal influences to make way for a ‘90s death metal sound. And the result is a resounding success, because Tyrannus hasn’t sounded as lean or mean, but they didn’t stop there: they even dug up some ‘80s post-punk and added it to the mix. So, if you’ve been wondering if we’d ever hear from these Scots again, worry not: THEY’RE BACK WITH A VENGEANCE.
-Kirk
Galibot – Catabase
Black metal from France
This is Galibot‘s second album drop of the year, and since I didn’t know that Euch-mau Noir bis was a re-release when I heard it back in February, I was completely caught off guard when I realized Catabase was coming in May. The band plays a well-conceived, tight blend of melodic and aggressive black metal, enhanced by riffy hooks and killer production, with lyrics in French about French mining history. Catabase is one of those listens that flies by, 10 tracks in 42 minutes that feels less because of how immediate and vicious the songs are, and how effectively they weave in atmosphere and melody and bits of post-metal. Add in a captivating vocal performance from Diffamie and you’ve got the recipe for a crisp, memorable listen.
-Kep
Healing Wound – Bodies of Heavenly Violence
Metallic hardcore from the UK
Ever been to the darkest and dankest corner of the broad church that is metallic hardcore? If you consider yourself a fan of the likes of Cult Leader or Helpless or The Secret you will know it well already. There’s scratch marks on the walls and sludge seeping in through the floor and the scent of death is heavy on the air and from it today emerges a new malevolent entity in the form of Healing Wound. With eyes swivelling wildly and teeth grinding excruciatingly it steps forth to vomit up Bodies of Heavenly Violence, demanding that you behold its frightening monstrosity for no less than 23 minutes before retreating back to the shadows. Once it’s gone you swear you can hear a gnawing sound, though whether that’s coming from the corner or the back of your own mind you can’t tell.
-Ellis
Jungle Rot – Cruel Face of War
Death metal from the US
Have you ever put on an album that immediately grabs your attention and doesn’t let it go for the entire duration of its runtime? Because that’s how I felt listening to Cruel Face of War, my first Jungle Rot album, but I’ll be damned if it’ll be my last. I know in the past I’ve called myself “Not a Death Metal Guy,” but that continues to be a “me” problem. Fortunately, those of us here at Noob Heavy are never at a loss of good death metal, and Jungle Rot and absotively, posolutely Good Death Metal
. In fact, I had to ask Kep if they’ve always fucked this hard, and his answer was “they’ve pretty much always sounded like this” so yeah. Strap in, loser, because the next 40 minutes are going to melt some faces.
-Kirk
Fake Dust – Decrepitizing Din of the Cerebral Psyopticon
Grindcore from the US
This shit is nothing short of fucking feral. Unhinged, unfettered, and barely contained in any form, the assault is constant and chaotic from start to finish. The Oregon four-piece clearly doesn’t believe in mercy or frills, and would prefer to simply pummel you into oblivion with a barrage of blasts and whirling blunt force trauma riffs. It’s a breathless, brutal listening experience that is somehow simultaneously unbelievably chaotic and so damn focused that it hits like a sledgehammer. Turn it on and proceed to get wrecked.
-Kep
VNRL – The Power That, When Wielded, Corrupts
Industrial dubstep from Canada
As we collectively mourn the impending closure of Syrup Moose Records, one would be hard-pressed to say the label isn’t going out without a bang. Label owner and consummate experimenter Brendan Barlow gives us the debut of his most recent experimental project, and it couldn’t be further than what we’ve come to know from his other projects—MEGAFAUNA and Grumm Trencher—if he tries (which, let’s be honest, he almost certainly did). All we’ve heard from VNRL up to now is the single SICK, which served as a standalone placeholder to the “what the fuck am I listening to” of The Power That, When Wielded, Corrupts, and I say that in the nicest way possible. The best I can do to give this style of music justice is to call it “industrial dubstep,” and that probably fails miserably, but I think it will give you some kind of idea as to what you’re getting yourself into. And please, for the love of Dog, get yourself into it, because it pays more dividends than it has any right to. If it doesn’t rewrite your brain even a little, then I strongly suggest you listen to it again. If nothing else, it’s a glimpse into Mr. Barlow’s boundless creativity and fearlessness as an artist.
-Kirk
The post May Release Spotlight appeared first on Noob Heavy.
Welcome in to another edition of our monthly release spotlight! Check out our full review of the new offering from Necropia, and read on below for the May albums we think deserve some extra love.
Infected Dead – Invicta
Technical death metal from the UK
One of the perks of starting the month on a Friday is that sometimes—sometimes—you can squeeze an extra paycheck out of the month (okay, not really “extra,” but it can feel like it). Another perk is that you get a whole extra release day to dig into new music. One such example is the latest release from England’s Infected Dead, an absolute scorcher of an EP and the perfect way to kick off a brand new month. Chock full of riffs, hooks, and solos, the band wastes no time in smashing your eardrums into a bloody, oozing pulp. And once the beating is over—after about twenty minutes or so—you can’t help but say, “Please, sir…can I have some more?”. Because it’s just that damn good.
-Kirk
Prisonnier du Temps – Prendre le Pouvoir par la Force
Oi! from France
Gonna have to own up to the fact that I was very late to the French Oi! party but I finally got around to checking out Syndrome 81’s 2022 full-length Prisons Imaginaires a couple of months ago and it is easily my favourite “discovery” of the year so I was super stoked to hear that their bassist Jacky Cadiou had another album coming out under his Prisonnier du Temps side/solo project. The title translates to “Seizing Power by Force”, and you can tell that there’s something revolutionary in the air as Cadiou combines the fury and intensity of hardcore with huge woah-driven melodies that evoke a sense of comrades in arms and marching in streets and the feeling that there’s more of us than there are of them. Just to be clear as well, he’s not on some lame Jan 6 type shit—check out his only quote in the press notes: “The world moves forward with its eyes closed and Gaza burns, forgotten… In pain and tears, children fall unarmed…”
-Ellis
Furnace Floor – Ceremonial Passage Through Fire
Blackened death/doom from the US
I’d never heard of Furnace Floor prior to throwing the record on, but as it turns out they’ve delivered one of my absolute favorite listens of the year so far. Ceremonial Passage Through Fire is downright harrowing, a hellish excursion into the stygian pits of nightmares, towering and lurching, smoldering with fury and burned black as ash. The songs are lengthy, arduous journeys, leaning on searing riffs and brutal roars to conjure images of infernal landscapes, charred to complete bleakness. It’s visceral, arresting stuff, and it’s the best death/doom I’ve heard in 2026 by far.
-Kep
Abuser – Blood Marks
Thrash metal from Poland
As a general rule, those of us here at Noob Heavy do not support abusers. However, Poland’s Abuser does not actually consist of abusers (alleged or otherwise), but instead thought of a clever name to describe the relationship their music is about to have with your neck, shoulders, and eardrums. Blood Marks is a no-holds-barred, full body experience. Your body will be compelled to mosh, so please be aware of your surroundings. Your neck will almost certainly succumb to an overwhelming urge to swing your head in a wide circular motion, sending your hair whipping around with enough force to rustle leaves or loose pieces of paper. And you will undoubtedly emit an, “UGH!”, or two—if not more—throughout the album’s runtime. Don’t be alarmed, this is perfectly normal. In fact, I think this was the plan all along….
-Kirk
Tyrannus – Mournhold
Black/thrash metal from Scotland
Weird to think it’s been four years since Unslayable and two and a half years since Tory Punching Music were gifted to us by the ever benevolent and incessantly antifascist Tyrannus, but here we are. Admittedly, it’s been a minute since I’ve blasted either album, distributed in the U.S. ever so lovingly by your friend and mine, Fiadh Productions, but what I do remember is more of an unrefined, “vibes-forward” blackened thrash that cared less about form and more about attitude. But Mournhold is a beast of a different breed, taking a much more ‘80s approach to thrash and toning down the black metal influences to make way for a ‘90s death metal sound. And the result is a resounding success, because Tyrannus hasn’t sounded as lean or mean, but they didn’t stop there: they even dug up some ‘80s post-punk and added it to the mix. So, if you’ve been wondering if we’d ever hear from these Scots again, worry not: THEY’RE BACK WITH A VENGEANCE.
-Kirk
Galibot – Catabase
Black metal from France
This is Galibot‘s second album drop of the year, and since I didn’t know that Euch-mau Noir bis was a re-release when I heard it back in February, I was completely caught off guard when I realized Catabase was coming in May. The band plays a well-conceived, tight blend of melodic and aggressive black metal, enhanced by riffy hooks and killer production, with lyrics in French about French mining history. Catabase is one of those listens that flies by, 10 tracks in 42 minutes that feels less because of how immediate and vicious the songs are, and how effectively they weave in atmosphere and melody and bits of post-metal. Add in a captivating vocal performance from Diffamie and you’ve got the recipe for a crisp, memorable listen.
-Kep
Healing Wound – Bodies of Heavenly Violence
Metallic hardcore from the UK
Ever been to the darkest and dankest corner of the broad church that is metallic hardcore? If you consider yourself a fan of the likes of Cult Leader or Helpless or The Secret you will know it well already. There’s scratch marks on the walls and sludge seeping in through the floor and the scent of death is heavy on the air and from it today emerges a new malevolent entity in the form of Healing Wound. With eyes swivelling wildly and teeth grinding excruciatingly it steps forth to vomit up Bodies of Heavenly Violence, demanding that you behold its frightening monstrosity for no less than 23 minutes before retreating back to the shadows. Once it’s gone you swear you can hear a gnawing sound, though whether that’s coming from the corner or the back of your own mind you can’t tell.
-Ellis
Jungle Rot – Cruel Face of War
Death metal from the US
Have you ever put on an album that immediately grabs your attention and doesn’t let it go for the entire duration of its runtime? Because that’s how I felt listening to Cruel Face of War, my first Jungle Rot album, but I’ll be damned if it’ll be my last. I know in the past I’ve called myself “Not a Death Metal Guy,” but that continues to be a “me” problem. Fortunately, those of us here at Noob Heavy are never at a loss of good death metal, and Jungle Rot and absotively, posolutely Good Death Metal. In fact, I had to ask Kep if they’ve always fucked this hard, and his answer was “they’ve pretty much always sounded like this” so yeah. Strap in, loser, because the next 40 minutes are going to melt some faces.
-Kirk
Fake Dust – Decrepitizing Din of the Cerebral Psyopticon
Grindcore from the US
This shit is nothing short of fucking feral. Unhinged, unfettered, and barely contained in any form, the assault is constant and chaotic from start to finish. The Oregon four-piece clearly doesn’t believe in mercy or frills, and would prefer to simply pummel you into oblivion with a barrage of blasts and whirling blunt force trauma riffs. It’s a breathless, brutal listening experience that is somehow simultaneously unbelievably chaotic and so damn focused that it hits like a sledgehammer. Turn it on and proceed to get wrecked.
-Kep
VNRL – The Power That, When Wielded, Corrupts
Industrial dubstep from Canada
As we collectively mourn the impending closure of Syrup Moose Records, one would be hard-pressed to say the label isn’t going out without a bang. Label owner and consummate experimenter Brendan Barlow gives us the debut of his most recent experimental project, and it couldn’t be further than what we’ve come to know from his other projects—MEGAFAUNA and Grumm Trencher—if he tries (which, let’s be honest, he almost certainly did). All we’ve heard from VNRL up to now is the single SICK, which served as a standalone placeholder to the “what the fuck am I listening to” of The Power That, When Wielded, Corrupts, and I say that in the nicest way possible. The best I can do to give this style of music justice is to call it “industrial dubstep,” and that probably fails miserably, but I think it will give you some kind of idea as to what you’re getting yourself into. And please, for the love of Dog, get yourself into it, because it pays more dividends than it has any right to. If it doesn’t rewrite your brain even a little, then I strongly suggest you listen to it again. If nothing else, it’s a glimpse into Mr. Barlow’s boundless creativity and fearlessness as an artist.
-Kirk
The post May Release Spotlight appeared first on Noob Heavy.
The global heavy metal community is collectively mourning and celebrating an unprecedented emotional milestone following a historic concert performance in Eastern Europe. Kicking off their highly anticipated summer 2026 European tour at the O2 Universum in Prague, Czech Republic, progressive sludge titans Mastodon left a stunned audience in tears. For the first time since the devastating, tragic passing of legendary founding guitarist and vocalist Brent Hinds, the band stepped onto a stage to debut a brand-new single titled “Your Ghost Again”—delivering a powerful, heart-wrenching masterpiece born entirely from the heavy trauma of studio grief.
Want the raw, real-time insider reporting on the shifting landscape of progressive metal and breaking live track debuts? Turn up the Loaded Radio Daily Podcast on your preferred streaming network to hear our comprehensive audio analysis of Mastodon’s next era, or lock into our 24/7 high-decibel commercial-free digital stream via the embedded player below.
The atmosphere inside the O2 Universum shifted from high-octane festival energy to intense, shared catharsis when bassist and vocalist Troy Sanders stopped the set to acknowledge a prominent handmade memorial sign being held up in the front row. The sign simply read: “He will forever be in our hearts. Brent Hinds.” Sanders pointed directly at the display, visually moved, before addressing the packed arena regarding the monumental step the band was about to take: “You’re right,” Sanders told the roaring crowd. “That brings us to something we don’t do very often. We’d like to play a brand-new song for you guys… This is the first song of our entire career that wasn’t worked on with our friend Brent. He passed away last year, so we’d like to do a new song and dedicate it to Brent because we miss him and we love him, also.”
The track marks a profound, historic structural shift for the Atlanta-based musical innovators. For a quarter of a century, Hinds’ wild, jazz-infused chicken-pickin’ guitar style, manic vocal delivery, and unpredictable songwriting choices acted as the central pillars of Mastodon’s critically acclaimed conceptual masterpieces.
The late Brent Hinds tragically lost his life on August 20 at the age of 51 after his motorcycle collided with an SUV in his adopted hometown of Atlanta, Georgia. While Hinds had previously parted ways with the touring entity of the band just months prior, the surviving members always viewed him as an irreplaceable brother.
Following the live debut of “Your Ghost Again,” drummer and co-vocalist Brann Dailor released an intimate statement breaking down the terrifyingly raw, psychological weight that fueled the track’s composition while tracking their completed, highly anticipated ninth studio album: “’Your Ghost Again’ is about being in those familiar places you used to be with people, which for us is in the studio,” Dailor explained with brutal honesty. “I just kept seeing [Hinds] out of the corner of my eye, where he would normally be with his guitar. Your mind plays tricks on you, especially so soon after someone dies and you’re in the places where they always were. You just see them.”
Sanders added that his specific vocal sections on the heavy, progressive movement were constructed as a direct message of pure, unadulterated appreciation for their fallen bandmate, noting: “The bridge lyrics are two lines of pure gratitude towards Brent.”
“Your Ghost Again” serves as the direct follow-up to their explosive 2024 collaborative hit “Floods of Triton,” which featured heavy metal peers Lamb of God. To execute the complex, multi-layered tracking requirements for the impending album cycle, longtime rhythm guitarist Bill Kelliher has been working alongside elite live guitarist Nick Johnson, who took over live duties following Hinds’ original departure. Kelliher has previously hinted that Johnson was directly involved in texturing the tracking sessions for the new material.
During an emotional post-show statement, Dailor reminded fans that despite the extreme natural friction of a 25-year rock-and-roll partnership, the bond forged in the studio remains entirely bulletproof: “We loved him so, so, so very much,” Dailor reflected. “And we had the ups and downs of a 25-year relationship. You know what I mean? It’s not always perfect, it’s not always amazing, but we were brothers to the end. And we really loved each other and we made a lot, a lot of very beautiful music together. And I think that that’s gonna stand the test of time.”
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7The brand-new single is titled “Your Ghost Again.” It was officially released across digital streaming platforms on June 2, 2026, and made its live concert debut the following night in Prague.
Mastodon founding guitarist Brent Hinds tragically passed away at age 51 on August 20, following a fatal motorcycle collision in Atlanta, Georgia.
Yes. According to official studio logs and management statements, Mastodon’s highly anticipated, as-yet-unannounced ninth studio album has been fully completed and mixed. It’s believed title is Poisonous Weapons.
Formed in Atlanta, Georgia in January 2000, Mastodon fundamentally redefined the boundaries of progressive metal, sludge, and hard rock over the course of two decades. Their early landmark concept records—most notably 2004’s whale-themed masterpiece Leviathan and 2006’s volcanic epic Blood Mountain—established them as critical darlings of the global heavy metal scene.
By the time they secured a Grammy Award for Best Metal Performance in 2018 for “Sultan’s Curse,” the band had successfully transitioned into global arena headliners without compromising their complex polyrhythmic arrangements or intense lyrical depth. The current transition into their ninth record cycle shows a veteran band turning unfathomable personal tragedy into deep, high-level musical art.
As Mastodon continues their emotional European run toward the legendary Download Festival stage in the UK, the floor belongs to the Loaded Radio community. Can a Mastodon record truly feel complete without the signature guitar madness of Brent Hinds, or do you think “Your Ghost Again” proves that grief has pulled their absolute best, most honest work out of them? Let us know your thoughts in the comments section below.
Never miss an official studio update, a surprise tracking leak, or a deep-dive rock memorial feature. Download the free Loaded Radio App for [iOS App Store] and [Google Play Store] today to command our live 24/7 high-decibel audio station and stream the Daily Podcast on demand.
The post “I Kept Seeing Him”: Heartbroken Mastodon Fans Weep in Prague as Band Unveils Haunting New Album Track Written After Death of Brent Hinds appeared first on Loaded Radio.
If you've been in the headphone hobby long enough, you've probably stumbled across Dekoni Audio at some point. They're a U.S.-based company that carved out a very specific niche: high-quality replacement earpads for popular headphones at every price tier. From budget-friendly Earpads all the way up to their Elite Sheepskin series for flagships like the HD 800, Dekoni has become the go-to name when your original pads start looking rough.
What makes them stand out is that they actually tune their pads to specific headphone models rather than making one-size-fits-all cushions and calling it a day. That headphone-specific tuning philosophy is exactly what drew me toward their Midnight series for my HD 550.
The Midnight series sits in Dekoni's budget-friendly "Earpadz" line—designed to be an honest, accessible upgrade over OEM replacement pads without breaking the bank. These aren't Dekoni's top-shelf material; that spot belongs to the Elite and Choice series. But the Midnight pads bring something important to the table: eggshell-based protein leather and medium-density memory foam at a price that won't sting.
The specific pair I'm looking at here is the Earpadz Midnight Series made for the Sennheiser HD 598/599/HD 560S family, and I'm running them on my HD 550. The snap-in mounting system is identical across the HD 598 line, so these clip right in with zero fuss.
Price lands around $35, depending on where you buy, which is a reasonable ask for what you get.
Let's talk about what the Midnight pad actually is physically. The outer material uses what Dekoni calls "eggshell-based protein leather"—a formulation that uses protein powder derived from eggshells to create something that feels thinner, lighter, and softer than standard vinyl or synthetic leather. It's a matte finish, not shiny, and it feels better against your skin than the typical cheap plastic-leather you find on budget OEM pads.
The foam inside is medium-density memory foam, described by Dekoni as more "forgiving" than the ultra-slow rebound foam in their Elite or Choice series. What that means in practice: it contours comfortably to your head but compresses a bit quicker under extended pressure. It's not the same as what you'd get in their higher-tier pads, but it's a real step up from collapsed, crusty stock foam.
Construction feels solid for the price. The stitching is clean, the fit around the headphone cups is snug, and nothing feels cheap or flimsy.
This is the part that matters most to most of you reading, so let's be straight about it: swapping earpads on an open-back headphone can actually change your sound. Doesn't matter the brand. Pad material, depth, and how they seal against your head all affect the acoustic chamber in front of the driver. The Midnight pads are no different.
On the HD 550, the Midnight pads shift the signature slightly warmer and more intimate compared to fresh stock velour. It's not a dramatic transformation — your HD 550 doesn't suddenly become like a different headphone— but there's a slight change in how the sound lands, particularly in the low end. If your original pads are beat up and collapsed, these will likely sound like a straight-up improvement right out of the gate.
With a proper seal, bass can potentially be improved slightly, making low end response a little more thumpy. Mids will stay largely the same, there is no recession or clarity loss from these earpads compared to the stock ones. Treble can also be slightly less sharp with leather earpads, though I did not notice much change at all here and didn't find the HD550 to have harsh upper registers with the stock of replacement pads.
Something intersting to note, is that worn in earpads have been shown to have a potentially wider "soundstage" or sense of space when listening to music. While speaker burn in is mostly ineffective, ear pad burn in can actually make a difference in your music listening. So if they sound intimate at first, the Dekoni earpads may widen up with time.
This might actually be where the Midnight pads shine most clearly. The eggshell protein leather is remarkably soft against the skin. They are noticeably more comfortable than the typical plastic leather on older OEM-style pads. The medium-density memory foam does a solid job of spreading clamp pressure across the full ear cup instead of creating hot spots. If you've been dealing with the "your ear is touching the driver grille" problem from compressed stock pads, these give you back that depth and relief.
Overall, I found the Dekoni earpads to be very comfortable and prefour them to the stock velour pads.
The Dekoni Midnight Earpads for the HD 598 series are a solid, no-nonsense upgrade for anyone whose stock pads have seen better days. They're a well-made, budget-friendly replacement that brings genuine comfort improvements and a possibly slightly warmer, bassier sound without wrecking what made your headphones good in the first place.
On my HD 550, they do exactly what I needed: comfortable daily driver pads that make long sessions enjoyable, with a sound that's pleasant and capable. For $35, that's a deal I'm happy with.
If your stock pads are blown out and you want the easiest, most affordable Dekoni upgrade for your HD 598, HD 599, or HD 560S, the Midnight series gets the job done.
Thanks for reading!