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Posted on June 8th 2026, 12:42p.m.

Some things are acquired tastes—coffee, vegetables, Mrs. Forrest,¹ to name a few. While some of us instantly and innately connect with metal, its loud and aggressive nature can make it tough for the initiate to effortlessly enjoy. Even for lifelong fans like myself, some bands still push the envelope. One such band is Apostle, a three-piece from Atlanta, Georgia, founded in 2017. They’ve always been a nasty, noisy group—if 2019 debut Sufferer is any indication—but 2021 saw the band undergo a significant lineup change. Evan Price continued to man the kit, but their founding vocalist departed, Murice White assumed vocal and guitar duties, and Michael Thomas moved over to bass. This shift spurred Apostle in an even more abrasive and emotive direction.

A Splinter in the Infinite Noumenon continues to explore what was first introduced on 2023 EP Liminal. Apostle maintains, from their early days, a harsh mix of grind and hardcore with occasional post-blackened flourishes, but 2026 sees them venture further into blackened territory, as well as explore ambient and post-rock elements. Opening salvo “Exiting the God Hologram” acts as a microcosm of all Apostle has to offer. A sample of a train gives way to full and vibrant percussion before atonal guitars grace your ears like a lead pipe graces a jaw. White’s deranged shrieks have a tenuous relationship with tempo, but always manage to link up with his bandmates on the downbeat. It’s a harrowing, unfettered style well-suited to Apostle’s sound. This cacophony eventually coalesces into an aching post-black fury in the last third, where Thomas’s throatier shouts augment the sound. “Exiting…” ends by unceremoniously silencing a gritty guitar solo flitting on broken wings—fitting for the rage and intentional inaccessibility on display here.

Those willing to brave Apostle’s chaos will find gorgeous flourishes through A Splinter in the Infinite Noumenon. Bright, descending, posty licks weave through “Illusion of Loss,” mirroring murky ascending counterparts. Violent plucking in “Swine” evokes Gorrch’s pitch-black dissonance, and its spiraling crescendo feels like something out of Imperial Triumphant’s playbook. True to its name, “Oscillating Polarities” swings wildly between discordant, hammering heaps and aching, blackened melodies. That ache is particularly exceptional on album closer “At Ease,” which opens with the same soulful lick that closes “Exiting the God Hologram.” With all this said, it did take several spins for me to start parsing out the subtleties and delicate decorations beneath Apostle’s torrent of aural catharsis. If I were casually spinning Splinter, rather than formally reviewing it, I’m not sure I would have stuck around long enough to find them.

Apostle’s claustrophobic, maximalist style is admittedly rad, but I do occasionally wish that the knobs weren’t all always snapped off at 11. Some of the moments above could have shone brighter, had the mix breathed a little easier and the spotlight been shared rather than functionally fought over. Even at an incredibly short 27 minutes, the sheer harshness and atonality of Splinter—especially on the front half—can be a lot to handle. There are some breaks, like the E.E. Cummings sample that opens “Distortions of Light” and the shoegazing that closes it, as well as the last few noir-shaded minutes of the album. I’m enough of a literature nerd to appreciate the poet’s cameo, even 70 seconds of it, but others may find it disruptive or unnecessary. Similarly, Thomas’s delightful bass riff anchors some beautifully moving swells in “At Ease,” but the same five notes for three minutes can get repetitive.

While preparing for this review, I listened to Apostle’s back catalog, and I can definitively say A Splinter in the Infinite Noumenon is a step above their earlier material. This new direction, while certainly harsher and more abrasive, has been a risk well taken. White’s unrestrained screams, as well as the band’s commitment to post-black trappings and interpretation of softer styles, tap into a wellspring of raw passion. It’s not the easiest to engage with, but Apostle has a clear and exciting vision that rewards commitment and repeat visits. Could druthers be had, I’d like to see their indiscriminate cacophony tempered and honed, but whatever they do next, I’ll be listening.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Terminus Hate City
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 6th, 2026

The post Apostle – A Splinter in the Infinite Noumenon Review appeared first on Angry Metal Guy.

Jeannie Seely’s career began in Titusville, Pennsylvania, where she was raised in a musically inclined family and learned guitar at a young age. She began writing songs early and showed an interest in performance long before entering the recording industry. In the early 1960s, she moved to California, where she worked as a songwriter and demo singer, building practical experience that positioned her as a serious professional rather than a novelty vocalist. Her transition into the Nashville music industry marked the turning point of her career. After relocating to Tennessee, she signed a songwriting contract with Four Star Music and

The post Complete List Of Jeannie Seely Songs From A to Z appeared first on ClassicRockHistory.com.

Holy shit! Every now and then an album comes along that completely derails whatever you were planning to listen to that day. Cold Logic did exactly that. I put it on without knowing much about Maneating Orchid and thirty-four minutes later I felt like I’d just been dragged through a machine.

The Indian band’s third album doesn’t waste time pretending to be approachable. “Dimension Exile” kicks the door open immediately and from that point onward the record barely gives you a second to get comfortable. Riffs twist into unexpected shapes, songs seem determined to avoid obvious patterns, and the whole thing moves with the kind of nervous energy that constantly threatens to fly off the rails.

What impressed me most wasn’t even the sheer aggression. Plenty of extreme metal albums are aggressive. What makes Cold Logic stand out is how unstable everything feels. Even when the band locks into a groove, there’s always the sense that something ugly is waiting around the next corner. A riff suddenly collapses into dissonant chaos, a blast-beat section appears out of nowhere, or a strange rhythmic turn sends the song in a completely different direction.

Vishnu Reddy deserves a mention because he’s basically holding this whole thing together. Some of these songs take such strange turns that they feel one step away from collapsing into total chaos, yet somehow they always land on their feet. “Void Engine” and “Binary Contagion” are good examples. Just when you think you’ve figured out where a riff is going, the band swerves in a completely different direction and somehow makes it work.

Trying to pin this album to one genre feels a bit pointless. There’s death metal in it, sure, but also flashes of mathcore, progressive metal and a bunch of moments that are just plain weird. The whole thing has a cold, suffocating atmosphere that kept reminding me of being trapped somewhere you really don’t want to be. Maybe that’s where the album works best. Not as a collection of songs, but as thirty-four minutes of discomfort.

The funny thing is that when it ended, I still hadn’t decided whether I actually enjoyed it. What I did know was that I wanted another listen, and then another one after that.

If names like Gorguts, Dysrhythmia, Behold… The Arctopus or Voivod mean anything to you, give this a shot. Maneating Orchid have made something genuinely nasty.

https://linktr.ee/maneatingorchid

Posted on June 8th 2026, 12:03p.m.

Ice Nine Kills’ Spencer Charnas continues to add more strings to his bow with the announcement that he is going to play a part in the Halloween universe.

The digital deluxe edition of Halloween: The Game, which is set for release on September 04, is going to provide you with some lovely extra characters to meet and play with.

One of those is Richard Hawthorne, a suave and smooth-talking resident of Haddenfeld, of which Spencer will be providing the vocie for. Considering just how well Spencer can mould into different characters, as shown throughout INK’s music as well their now huge cinematic universe, there is no-one else better suited to playing such a part and taking on Michael Myers.

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You can check out a full trailer for the game below. It looks absolutely ace:

And for a prime example of just how much Spencer loves embodying other characters, here is the band’s, or Grave Diggler’s, special track written for Ready Or Not 2, ‘Hell or High Slaughter:

The post Ice Nine Kills’ Spencer Charnas To Provide Voice For Character In Halloween: The Game appeared first on Rock Sound.

Posted on June 8th 2026, 10:57a.m.

Ginger Wildheart is an unstoppable force. Faced with his recent cancer diagnosis, he has taken the decision to say ‘f*ck that!’ and has vowed to rock for as long as he can physically stand on a stage. Music has always … Continue reading →

The post Gig review: THE WILDHEARTS – Tolbooth, Stirling – 30th May 2026 appeared first on Get Ready to ROCK!.