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The post Album Review: Corrosion of Conformity – Good God / Baad Man appeared first on The Razor's Edge.

The legendary guitarist was diagnosed with ALS just last month. Continue reading…

They’ve got a UK tour set to launch next week.

The post Kill The Lights Premiere “Iron Bite” Music Video appeared first on Theprp.com.

The band launched their latest era in Beijing.

The post Watch Arch Enemy Play Their First Show With Lauren Hart On Vocals appeared first on Theprp.com.

In my mind

That I could only want to trust your god

Now it’s mine

I control my destiny 

Toronto duo Modele (aka Chris Huggett and Nathan Wiltshire) deal in confession, and on Now It’s Mine, they turn the act into something closer to a private coup. This is the second release from the new Modele album, Divine Surrender, due later this year, and the title of that record already hints at the tension running through the song: surrender as ritual, surrender as seduction, surrender as the last posture before someone stands up and takes hold of the room.

There is a thin line between reverence and hunger, between submission and self-invention. Modele takes that tension and lets it breathe, building a song that feels devotional at first, then increasingly charged with possession, until the whole piece seems to stand upright under its own severe and shining will.

Now It’s Mine boasts a chorus pitched low enough to rattle the body and guitars rising in long, bent shapes, as though they are reaching for some stained, distant light. Huggett sings from deep in the chest, his voice full of weight and want, carrying the strain of somebody still chasing meaning after the old answers have gone stale. Modele stay with the feeling, press on it, and let it darken without rushing toward relief.

You can hear familiar bloodlines running through the song: traces of The Mission in its sweep, the hypnotic melancholy of Clan of Xymox and Violator-era Depeche Mode in its cool nocturnal drag. Modele understand how to hold elegance and unease in the same frame, and that balance gives the song its real pull.

Now It’s Mine moves like a spiritual mutiny. It begins in devotion, with the speaker bent toward another’s truth, hungry for meaning, willing to surrender everything for a glimpse of the divine. Then the center of gravity shifts. Purity curdles into possession, sacrifice sharpens into self-command, and awakening arrives with its hands already on the wheel. By the end, the song has broken from borrowed faith entirely: heaven is no longer something distant to pursue, but something wrestled down, claimed, and made flesh. Hot!

Listen to Now It’s Mine below and order the single here.

Follow Modele: 

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The post “I Control My Destiny” — Toronto Post-Punk Modele Shares Bold Synth-driven Single “Now It’s Mine” appeared first on Post-Punk.com.

UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!

Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!

On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.

Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.

Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.

---

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026

The post Cryptworm – Infectious Pathological Waste Review appeared first on Angry Metal Guy.

Southern California rockers Robert Jon & The Wreck have released their new single “Run Back To Me,” now available on all major streaming platforms. The track arrives as the band continues touring in support of their latest album, Heartbreaks & Last Goodbyes.

“Run Back To Me” originated with songwriter Desirae Megan, who was inspired after seeing a photo of frontman Robert Jon Burrison with his family. Reflecting on the challenges of staying connected while on the road, she began developing the song’s melody and concept. Megan later worked with keyboardist Jake Abernathie to complete the track while traveling to a show.

The song focuses on the emotional realities of touring, balancing distance with the pull of home. It highlights the band’s continued emphasis on blending personal storytelling with their signature Southern rock sound.

“Run Back To Me” follows a series of recent releases from the band after Heartbreaks & Last Goodbyes, which was produced by Dave Cobb and released via Joe Bonamassa’s Journeyman Records. The album marked a continued evolution in the band’s sound, combining high-energy rock with more reflective material.

Formed in 2011, Robert Jon & The Wreck features Robert Jon Burrison (vocals, guitar), Henry James (lead guitar, vocals), Andrew Espantman (drums, vocals), Warren Murrel (bass), and Jake Abernathie (keys). The group has built a strong following through consistent touring and a blend of Southern rock influences with a West Coast approach.

The band will continue its tour throughout 2026 with dates across the United States and Europe.

SPRING U.S. TOUR DATES
April 10, 2026 – New Orleans, LA – Hogs For A Cause
April 11, 2026 – Miramar Beach, FL – Sound Wave Beach Weekend (Sold Out)

SPRING EUROPE TOUR DATES
April 14 – Herne Bay, UK – The King’s Hall
April 15 – Newcastle, UK – Wylam Brewery
April 16 – Manchester, UK – Academy 2
April 17 – Glasgow, UK – Glasgow Garage
April 18 – London, UK – O2 Shepherds Bush Empire
April 19 – Southampton UK – The Brook
April 22 – Paris, FR – Alhambra
April 23 – Bilbao, ES – Kafe Antzokia
April 24 – Madrid, ES – Sala But
April 25 – Jerez de la Frontera, ES – La Bodega Skate Center
April 26 – Málaga, ES – La Trinchera
April 28 – Valencia, ES – Sala Moon
April 29 – Barcelona,ES – Razzmatazz 2
April 30 – Riotord, FR – Climax Club Legend
May 1 – Bensheim, DE – Musiktheater Rex
May 2 – Winterbach, DE – Lehenbachhale
May 3 – Regensburg (Burglengenfield), DE – VAZ Pfarrheim
May 5 – Berlin, DE – Columbia Theater
May 6 – Bonn, DE – Harmonie
May 7 – Amsterdam, NL – Melkweg
May 8 – Arnhem, NL – Luxor Live
May 9 – Brussels BE – Ancienne Belgique

SUMMER U.S. TOUR DATES
May 16 – Maryville, TN – The Shed supporting Blackberry Smoke (Sold Out)
May 28 – Belly Up – Solana Beach, CA
July 9 – Aura – Portland, ME
July 10 – Blue Ocean Music Hall – Salisbury, MA
July 12 – Pine Junction – Sherman, NY
July 13 – Jergel’s Rhythm Grille – Warrendale, PA
July 14 – Live at Hub City Vinyl – Hagerstown, MD
July 15 – Ardmore Music Hall – Ardmore, PA
July 16 – The Hamilton Live – Washington, D.C.
July 17 – The Tin Pan – Richmond, VA
July 18 – The Stage @ Jones von Drehle – Thurmond, NC
August 29–September 1 – Long Beach, CA – Cali–County Cruise 2026

FALL U.K. & EUROPE TOUR DATES
October 2 – Cambridge, UK – Cambridge Junction
October 3 – Nottingham, UK – Rock City
October 4 – Liverpool, UK – O2 Academy Liverpool
October 6 – Bristol, UK – Trinity Centre
October 7 – Leeds, UK – Project House
October 8 – Oxford, UK – O2 Academy Oxford
October 9 – Weert, NL – De Bosuil
October 10 – Utrecht, NL – Tivoli Vredenburg
October 11 – Dortmund, DE – Musiktheater Piano
October 12 – Nuremberg, DE – Hirsch
October 14 – Hannover, DE – Blues Garage
October 15 – Aschaffenburg, DE – Colos-Saal
October 16 – Lossnitz, DE – Zur Linde
October 17 – Seewen, CH – Gaswerk Eventbar
October 18 – Seon, CH – Konservi Seon
October 19 – Rubigen, CH – Muhle Hunziken
October 21 – Clermont-Ferrand, FR – La Cooperative De Mai
October 22 – La Roche-Sur-Yon FR – Quai M
October 23 – Penmarch, FR – Salle Cap Caval
October 24 – Cleon, FR – La Traverse
October 25 – Lille, FR – Le Splendid

The post Robert Jon and the Wreck unveils “Run Back To Me” appeared first on Blues Rock Review.

The group first gauged their fans reaction to an alternate mix on Reddit.

The post Boundaries Release Alternate Mix Of “Skies Cast Amber Black” After Listening To Fan Feedback appeared first on Theprp.com.

Violentene’s new EP, Victims Of Light, has the pale glamour of a city seen through a rain-streaked cab window at 2 a.m., all angles, reflections, and private wreckage dressed up for public display. The Ottawa synthpop duo knows how to hold a mood in place: across these five tracks, the duo sounds newly focused. The genre tags still hover nearby: synthpop, darkwave, retrowave, dreampop, synthwave, yet the record feels less concerned with scene allegiance than with emotional temperature.

Roland M. arranges the synth lines and drum programming with a sleek severity, as Mvrijo steps through the center of it all with a voice that carries cool distance and bruised longing in the same breath, giving these songs a soft, dangerous glow.

Savage City sets the tone with a sharp sense of modern alienation, full of pressure, suspicion, and the craving for something real in a world that keeps offering chrome substitutes. The hook has a sly persistence, and the production gives the track a taut frame that keeps its emotion from spilling over into melodrama. Other Side of Eternity goes deeper. The synths rise in long, gleaming waves, and Roland’s Moogs and Korgs lend the track a stately ache, as if some old cathedral had been rebuilt in glass and wired for electricity. Mvrijo’s performance carries the song with grave composure, turning its imagery of pain, peace, and passage into something felt rather than merely stated.

The title track is the EP’s finest argument for Violentene’s growth. Victims Of Light holds density and delicacy in an almost unnerving balance, letting the arrangement stretch and tighten with superb discipline. There’s a calm surface, although beneath that poise, you can feel all kinds of psychic wear and tear grinding away. Lyrically, the song is preoccupied with endurance, with sanity slipping by degrees, with survival becoming habit.

The two unreleased songs, Overcome and Beginnings, complete the EP by deepening the mood and broadening the emotional scope, showing that this release was sequenced with real thought rather than assembled for convenience or chronology.

“Creating these songs feels like a slow drift between beauty, tension, and emotional freefall,” says Mvrijo.

Roland adds, “We’re always stoked to get our music out to the world – in our heads the songs already exist in a space where beauty and collapse touch, but felt so inspiring to create!”

That tension between beauty and collapse is exactly where Victims Of Light lives, and Violentene handle it with rare poise. This EP feels cold to the touch, but there’s a live wire tingling under the skin.

Listen to Victims of Light below and order the EP here.

Roland Marckwort launched Violentene in 2017 as a way to reconnect with the ambient and dream pop ideas he first explored in the late 1990s with Venus Swirls. That project later evolved into the electro outfit Liquified, which released two acclaimed CDs, earned significant chart success, and secured a deal with World Domination Records.

After a brief stint as a DJ, Roland went on to join the indie/new wave four-piece Politique, who released two albums, played many sold-out shows, and completed a Canadian mini-tour between 2008 and 2012. In 2017, he also collaborated with New York singer Dani Mari (Primitive Heart), producing and releasing the EPs Denial and Phantom Youth, both of which found a strong following within underground shoegaze and dream pop circles.

Mvrijo has been singing since her teens and has fronted several popular Canadian indie rock and pop acts. She and Roland connected in Ottawa in late 2019, united by a shared desire to finally bring the project to the stage and work together locally. They quickly began work on the Otherworld EP, and her arrival in Violentene proved to be the missing piece, helping bring the duo’s vision fully into focus.

Follow Violentene:

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The post Ottawa Darkwave Duo Violentene Unveil “Victims Of Light” EP — Includes Two New Songs “Overcome” and “Beginnings” appeared first on Post-Punk.com.

Last time we checked in with Puerto Rican rapper Young Miko, she was interpolating Lil Wayne and Lil Jon on her single “WASSUP.” That was almost a year ago, and since then Miko has continued her ascent, including an appearance in Bad Bunny’s Super Bowl halftime show. Today she’s shifted into hyperpop mode on “Duro,”…

The post Skrillex – “Duro” (Feat. Young Miko) appeared first on Stereogum.