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There is no band in the history of black metal that commands as much respect for their stubborn refusal to evolve as Darkthrone. While the rest of the world chases production polish and digital perfection, Fenriz and Nocturno Culto have spent the last three decades retreating further into the shadows of the underground. Their latest offering, “Pre-Historic Metal”, officially out this week via Peaceville Records, is perhaps their most defiant statement yet.

Following the cosmic explorations of 2024’s It Beckons Us All, the duo has pivoted back to the primitive. The title isn’t just a label; it’s a mission statement. The riffs are thick with the stench of the early 80s—think Hellhammer meeting early Celtic Frost in a damp Norwegian basement. It’s heavy, it’s ugly, and it’s gloriously unrefined.

The Sound of the Cave

The title track, “Pre-Historic Metal”, serves as the album’s anchor. It’s a mid-tempo dirge that relies on Nocturno Culto’s signature sandpaper growl and Fenriz’s minimalist, pounding percussion. There are no symphonies here, no clean vocals, and certainly no concessions to modern trends. It is “primitive metal” in its purest form, recorded with an honesty that few bands today would dare to put on tape.

For the purists, this is the Darkthrone we’ve been waiting for. It’s an album that sounds like it was unearthed from a permafrost-covered tomb rather than recorded in a studio. In an era of AI-generated art and over-processed soundscapes, Darkthrone remains the ultimate human rebuttal.

Pre-Historic Metal is available now on limited edition vinyl and CD. If you’re looking for the future of metal, look elsewhere. If you’re looking for its soul, you’ve just found it.

It’s a daunting prospect writing a review for a Dragged Into Sunlight gig. The enigmatic band’s live set, performed bathed in smoke, with their backs to the crowd while under pulsating lights, is the stuff of legend. Their Damnation set from 2024 is still spoken about as one of the best ever. They’re a band … Continue reading Gig Review: Dragged Into Sunlight / Vacuous / Plague Pit – Slay, Glasgow (3rd May 2026)

The sons of Kiss icons Paul Stanley and Gene Simmons played their first show together at a tiny venue in San Diego – and Classic Rock was down the front

Dante’s nü-metal inferno.

The post Korn, Papa Roach, Evanescence, Drowning Pool, Etc. Set For ‘Devil May Cry’ Season 2 Soundtrack appeared first on Theprp.com.

Los Angeles romantic post-punk duo DECEITS have announced a run of May and June tour dates, taking their trademark Latino gloom, bruised romance, and serrated live charge across the West Coast, Pacific Northwest, Mountain West, Southwest, and Texas.

Formed in Los Angeles in late 2021 by longtime friends Kevin Moreno and Francisco Saenz, DECEITS first arrived like a private language dragged into the light: hearts pinned to the kick drum, teeth set against the soft lie of revivalism. Since then, the project has grown its audience without sanding down its bite, carrying songs of ache, devotion, and romantic damage from the underground to sold-out rooms, vinyl pressings that disappear quickly, and festival stages including Cruel World 2025.

Now operating as a duo, with Moreno handling vocals and instruments and Saenz on drums and percussion, DECEITS live in that charged strip where romance gets scuffed on the pavement. Their post-punk is contemporary, Chicano, and personal without turning precious, written for crowded rooms, close faces, bodies packed near the stage, and the collision of motion, memory, and confrontation. Moreno sings as if every phrase has been weighed, swallowed, and dragged back up glowing with damage and desire.

The tour follows a steady stretch of new music from the band. Their debut album, If There’s No Heaven…, arrived in 2023, framed by tragedy, hope, romantic ruin, and the kind of devotional post-punk that can make a dance floor feel like a wake with better lighting. Since then, DECEITS have continued widening the world around that record with Why Are We Afraid To Let Go? in 2024, All We Are (Are Memories) in July 2025, Please, Wake Up in November 2025, and their latest single One Day You’ll Hurt As Much As Me.

For this new run of live dates, DECEITS will reunite with Past Self and 60 Juno for select dates, with Night Ritualz also joining the tour. The band will begin the trek on May 27 at Cornerstone in Berkeley, California, before cutting across the West Coast and inland through Sacramento, Portland, Seattle, Midvale, and Denver. From there, DECEITS head deep into Texas for a five-city run, then turn back west through El Paso, Albuquerque, Tucson, and Phoenix before bringing the tour home to Southern California on June 20 at the Casbah in San Diego.

DECEITS will also appear at Darker Waves 2026 in Huntington Beach on November 14, joining a lineup that brings the duo back to a large-scale California festival setting after their Cruel World appearance.

For tickets and more info on the band’s 2026 itinerary, go here.

DECEITS Tour Dates 2026:

• May 27 — Berkeley, CA — Cornerstone
• May 28 — Fresno, CA — Strummer’s
• May 29 — Reno, NV — The Holland Project
• May 30 — Felton, CA — Felton Music Hall
• June 2 — Sacramento, CA — Starlet Room
• June 4 — Portland, OR — High Limit Room
• June 5 — Seattle, WA — El Corazon
• June 7 — Midvale, UT — The Pearl on Main
• June 8 — Denver, CO — Hi-Dive
• June 10 — Dallas, TX — AM/FM
• June 11 — Houston, TX — White Oak Music Hall
• June 12 — San Antonio, TX — Paper Tiger
• June 13 — Austin, TX — 29th Street Ballroom
• June 14 — McAllen, TX — The Gremlin
• June 16 — El Paso, TX — Lowbrow Palace
• June 17 — Albuquerque, NM — Launchpad
• June 18 — Tucson, AZ — 191 Toole
• June 19 — Phoenix, AZ — Crescent Ballroom
• June 20 — San Diego, CA — Casbah
• November 14 — Huntington Beach, CA — Darker Waves 2026 — Huntington State Beach

Follow DECEITS:

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The post Los Angeles Post-Punk Romantics DECEITS Announce Western U.S. Tour With Past Self, 60 Juno, and Night Ritualz appeared first on Post-Punk.com.

For many years, brothers Jake and Jamin Orrall comprised the excellent Nashville garage-psych band JEFF The Brotherhood. In recent years, they’ve launched a new project. In 2024, the Orrall brothers teamed up with Silver Synthetic’s Kunal Prakash for a band called Vorhex Angel. Although official live footage distributed a few months back suggests the group…

The post Vorhex Angel (Ex-JEFF The Brotherhood) Announce New Album <em>Drain</em>: Hear “Okie’s Song I” appeared first on Stereogum.

The Rolling Stones officially announced their new album Foreign Tongues and shared its lead single “In The Stars” today. A few hours later, they were onstage with Conan O’Brien at an album launch event inside the Williamsburgh Savings Bank building in Brooklyn. Our own Scott Lapatine was on hand, chilling with Jason Isbell and gathering news.

The post Rolling Stones Reveal New Album Has Paul McCartney, Robert Smith, Steve Winwood, & The Late Charlie Watts appeared first on Stereogum.

The sky is still blue
The clouds come and go
Yet something is different
Are we falling in love?

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Fuck You, Tammy! take their name from a line in Twin Peaks: The Return, and the joke lands exactly where it should: halfway between fan devotion, deadpan absurdity, and the kind of emotional volatility that makes Lynch’s world feel like a soap opera conducted during a gas leak. Their version of Falling, the second single from the Sycamore Trees EP, takes the Julee Cruise classic out of its blue velvet trance and puts it on its feet, blindfolded, grinning, slightly overmedicated, and ready to dance through a therapy session nobody’s insurance would cover.

Falling is the kind of cover that knows reverence can become taxidermy if nobody kicks the rhythm section awake. FYT! keep the ache of the original, but they lace it with a propulsive backing track, a looping snare, and a saxophone that appears to have escaped from a jazz club inside someone’s nightmare. It carries a little of Luscious Jackson’s Naked Eye in its groove, a little of Bowie’s late-career fever in its brass-battered urgency, and a great big gob of Lynchian wrongness smeared across the mirror.

Michael Leviton’s video understands the assignment, then eats the assignment with a fork and a nice slice of cherry pie. A Woman In Trouble seeks help for romantic obsession and finds herself trapped inside a therapy cult where erotic treatment methods make standard psychoanalysis look like a DMV appointment.

“To direct a Lynchian video, I tried to inhabit a Lynch-like mental state less literal than my usual and let images come to me without really knowing what they mean,” says Leviton. “Before I started directing music videos, I was a writer, so I think in terms of story. In my younger life, I preferred the Lynch movies that made the most sense story-wise like The Elephant Man, Twin Peaks, and Blue Velvet. But since then, I’ve become more excited about the stuff that I love without understanding it, like Eraserhead, Lost Highway, Twin Peaks: The Return, Mulholland Drive. So, for this video, I began with images. First, I envisioned a woman on a therapy couch shot from above, dancing while talking to her therapist. I ran with this idea. Therapy is always on my mind because I was raised around a lot of therapy that’s considered rather extreme and cult-like. It wasn’t out of character for me to imagine a “therapy cult” that uses unconventional methods like making patients dance blindfolded. I saw weirder stuff in real life when I was a teenager.”

That looseness pays off: bodies dance blindfolded, desire mutates into diagnosis, and everyone looks far too attractive to be trusted with your emotional recovery.

Frontwoman and bandleader Devery Doleman describes the video as “Lynchian in the purest way – erotic, surreal, with elements of noir, horror and comedy. “It was important to me to cast the entire band, and everyone gives a great performance and is fully committed, slightly unhinged, funny, and very hot.”

Watch the video

What began in 2017 as a Halloween tribute to the music of Twin Peaks has become a full-time séance for the David Lynch Extended Cinematic Universe, with Lost Highway, Wild at Heart, Blue Velvet, and the rest of the red-curtained canon folded into the act like evidence in a very glamorous police file. Devery Doleman, Julie Rozansky, Nate Smith, Bill Ferullo, Blaise Dahl, and Anthony Cekay play these songs with the devotion of fans and the nerve of burglars, sneaking into sacred rooms and rearranging the furniture before Gordon Cole can shout about it.

Listen to Falling below and order the single here.

Follow Fuck You, Tammy!:

• Website
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The post F You, Tammy! Unveil Video for Cover of Julee Cruise’s Classic Twin Peaks Theme “Falling” appeared first on Post-Punk.com.

Detroit Lions star Amon-Ra St. Brown has a fun and crazy fact to share about one of his beloved teammates.

The post Amon-Ra St. Brown Drops a Crazy Fact About His Lions Teammate appeared first on Audio Ink Radio.

Ever heard a gothic metal band live with constant feedback on the microphone? How about two?

Read on.

As a colleague said two nights ago at the Močvara venue, this is a more softening-up event consisting of Sirenia and Meteora. As Steve Hughes once said (back when he was funny), “After you listen to Slayer for 6 hours during the day, you need something to relax with during the evening.” Personally for me, this is for me the kind of music, especially early Tristania. So tonight we have one fifth of that band.

You work with what you have.

These kinds of events are not your usual sonic manifestation in Močvara, so it is a nice change after an array of past more extreme metal events and those to come in the next month. The event was brought to you by the gentlemen from Hangtime Agency, the same agency that brought them four years ago if I’m not mistaken. The crowd turnout was quite impressive the last time around. This time was a bit different.

As was written in the announcement, unfortunately, the Croatian band Countess couldn’t perform due to personal family reasons, which was disappointing for many but certainly understandable.

So Meteora carried the full load of warming us up for the main course of the evening. Formed in 2010 in Hungary, they have 4 albums under their discography belt, starting with Our Paradise in 2017 and Darkest Light in 2026 as their last release, not counting singles and EPs in between. With an array of various albums and EPs, you would say that this is a quite active band.

Having that in mind, that night they looked like a band that formed maybe a few years ago, and this is their first tour. Musically speaking, it’s a mishmash of melodic death metal with growls from Máté Fülöp, male clean vocals from Atilla Király, and “main vocalist” Noémi Holló with gothic/symphonic elements. That on paper would sound awesome like some later albums from bands like Draconian. This is throwing everything but the kitchen sink together with a shrug and “let’s see what happens” attitude. Unfortunately little of that sticks together. Either the music is the problem or the overall sound quality; that was a whole different story. This must be one of the worst live sounds I’ve heard in this venue in a long while.

And this is not the venue’s fault; I saw much more extreme bands (Suffocation, Defeated Sanity, and Cryptopsy) at the same place, and the sound was clear and kickass. The case this time, for whatever reason, the sound guy thought they were playing in an avenue twice as big, and everything is twice as loud as it should be, and every instrument is fighting to be heard. The biggest victim soundwise was Noémi’s vocals being buried and with an odd reverb effect. Add that with the genre problem, this band is still trying to combine different sonic elements in their songs. Not to be completely negative here, the song In My Name really delivers and shows promise for the band. Unfortunately, it was the last song of their setlist performed to a venue hall full. In short, the band has all the right ingredients but not sorted in a proper way.

 

Setlist:

1. Memento Mori
2. Broken Mind
3. Shadows of Ignorance
4. Darkest Light
5. Rebirth
6. Ghosts
7. Danse Macabre
8. In My Name

After a massive equipment overhaul, Sirenia entered the stage. This is their 25th anniversary tour, and their stellar setlist shows this gig is for the old fans. Some new tracks are a bag of old songs from the first three albums. Starting with Meridian (easily my personal favorite), the band showcased a professional approach in their musicianship, although the view at the stage was one of the oddest things I saw: no guitar amps. This must be the first band I saw performing this kind of music without any kind of amps present. With only four of them on the stage, it means that the bass guitar, keyboards, and choirs are all going directly through the speakers. Make of it what you will.

Nevertheless, performance wise the band made a stellar effort to do a good show to nicely filled venue despite the sound issue that continued, the feedback from the microphone was constant to the point that I became a chore listening to them, borderline annoyance. Even their vocalist, Emmanuelle Zoldan, appealed to the sound guy to fix the problem with the feedback, mentioning that she is pretty much singing blind and can barely hear herself. Alas, little had changed during their whole performance.

Which is a shame, because it was clear as day that the audience was pumped to see them and hear their classics. Even their songs like The Last Call or The Path to Decay from the commercial effort The13th Floor has that infectious groove that live is twice as powerful.

I guess it was one those gigs on the tour and unfortunately both parties got the bad end of it.

 

Setlist:

1. Meridian
2. Sister Nightfall
3. Nightside Den
4. Euphoria
5. Lost in Life
6. Callous Eyes
7. In My Darkest Hours
8. Star-Crossed
9. The Last Call
10. The Seventh Summer
11. Lithium and a Lover
12. My Mind’s Eye
13. The Other Side
14. The Path to Decay

 

Photos by Davor Birt from Balkanrock, used with kind permission.