Rico Nasty did not hold back on her great new single “Rituals,” but perhaps she should’ve held back her opinion on paleontology. In her recent appearance on the Zach Sang Show, the singer/rapper expressed her belief that dinosaurs are a “government marketing scheme.”
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Chickenfoot’s .
The post Chickenfoot’s original band members reminisce about their debut album first appeared on Sleaze Roxx.
We get a lot of bold claims in the promo pit. It’s understandable; writing advertisements for music sounds like a thankless task, and no one is going to submit an album telling us that it’s a smidgen above mediocrity.1 No, everything death has to be the most moldy, blackened, the most evil, stoner the most groovy, and power the most disposable and ignored album we’ve ever heard in our life. Imagine my eyebrows raising, then, to discover a new offering from Swedish mainstays Sarcasm, who simply described themselves as being more than just Swedeath. Few genres in metal have such imposed and strict limitations, from guitar tones to riff stylings, and one second sampling Feral or Lik and their ilk make the expected sound clear from the get-go. Consequently, such a bold claim of genre transcendence stands out in the face of a sea of self-aggrandizement, and all I could think was the most un-sarcastic “Sold.”
In order to be “more” than Swedeath, you still need the foundation to build on, and Sarcasm drapes their meat and lifeblood on the bones of great fossils of olde. Lifeforce Omnibound kicks off with a balls-out assault sounding composed by Vomitory but with a grasp of leads that seek to Dismember listeners far and wide. The path of the album is one that unfurls its more progressive tendencies the deeper you go, starting like a high-grade tribute to their 90s selves but getting more curious as it unfolds. “Altering the Perception” is a key example; starting off like a cut off of At the Gate’s At War With Reality, and featuring vibrant leads and a Gothenburg flavored stomp in its perpetual revolving assault. Suddenly, bursts of color reminiscent of Dark Tranquility emphasize transitional passages, and an overreliance on the stereotypical snare-and-bass drumbeat plaguing much of Swedeath is mercifully absent, instead featuring sudden aggressive riffing styles more reminiscent of New York-style brawl.
The whole of Lifeforce Omnibound is riddled with such flourishes, working hard to buck genre expectations. “The Reward of Adversity” offers listeners a relaxing Wombbath with a full piano and violin break, which slots excellently between the 6/8 violence, while “Plunged Into a Paradox” channels the more progressive melodic tremolos from Analepsy’s Quiescence.2 Speaking of tremolos, much of the album comes with a distinctly blackened edge, especially with Jesper Ojala’s Watain-influenced drumming style, and vocalist Heval Bozarslan features a much higher range and sneering shriek compared to the genre’s usual guttural fare. “Wayward Fragments of Infinite Divisibility” flirts briefly with slam tendencies before collapsing into an absolute BOP of a china-and-high-hat centric dissonant riff modern Pestilence would be proud to sign their name to, only to rush into well executed melo-death shred prowess. Sarcasm have offered up an album which is loyal to its genre roots, but under no circumstances allows itself to sit still and be confined to its labels.
All of these names and influences sound like this album could be an unfocused disaster, but nothing could be further from the truth. Compositional excellence allows Sarcasm to slide between moods like they were headbanging between the raindrops, and few elements detract from the overall experience. True, Lifeforce Omnibound does have more than a few spoken word sections, which halt the momentum as all spoken word sections in albums do. Regretfully, it also sounds like Sarcasm ran out of different ideas near the end, coasting to the finish line with a concluding track which is the most traditional sounding song on the album, albeit a quality one. Still, there’s always room for MOAR Swedeath in life, and for an ending to be merely anticlimactic is hardly the worst sin an album can commit.
To my delighted surprise, Sarcasm did it. Lifeforce Omnibound is nominally Swedeath, and yet the sheer glut of sounds I hear pouring through my headphones shows a band not content to spin their wheels and live on the laurels of vintage sounds of yore. An excellent approach to disparaging elements and a seamless fusion of neighboring ones, Sarcasm have created an album that transcends the sum of its parts to be something truly enjoyable. If you’re one of those who have turned away from Swedeath due to a lack of growth in the sound, hop on this immediately. Yes, really.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Hammerheart Records
Website: Album Bandcamp
Releases Worldwide: May 29th, 2026
The post Sarcasm – Lifeforce Omnibound Review appeared first on Angry Metal Guy.
That case was once again revived earlier this year.
The post Judge Denies Marilyn Manson’s Latest Attempt To Have His Ex-Personal Assistant’s Sexual Assault Lawsuit Dismissed appeared first on Theprp.com.
For one night at Nashville’s Ryman Auditorium, Zakk Wylde transformed a tour package into something that felt more like a musical family reunion. Every member of Black Label Society pulled double duty throughout the evening, moving between sets with barely a pause as Dark Chapel, Zakk Sabbath, and Black Label Society shared personnel and purpose across a marathon night of music.
Dark Chapel opened the evening and quickly established guitarist and vocalist Dario Lorina as far more than a supporting player in Wylde’s orbit. Leading the band through material drawn largely from their debut album, Spirit in the Glass, Lorina displayed confidence and command while balancing both guitar and vocal duties. Backed by guitarist Dylan Dice, bassist Mike Leon, and drummer J. Walker, the band delivered a set that showcased its own identity rather than relying on the reputation of its connections.
Instead of turning the performance into a showcase for technical excess, Dark Chapel emphasized atmosphere and songwriting. Lorina could have easily filled the set with extended guitar displays, but the band opted for a more measured approach, allowing the songs to breathe while creating a steady sense of tension and momentum. It was a smart decision that highlighted the strength of the material. By the end of the set, the audience had been given a clear introduction to a band that stands comfortably on its own merits. Lorina would later return to the stage as part of Black Label Society, making his first appearance only the beginning of a long evening.
After a brief intermission, Zakk Sabbath took over. The lineup featured Wylde on guitar and vocals alongside bassist John “JD” DeServio and drummer Jeff Fabb, all familiar faces from Black Label Society. The structure of the evening felt less like a traditional three-band package and more like a revolving cast of musicians, each member stepping into different roles before eventually reuniting for the night’s headlining performance.
Wylde’s connection to Black Sabbath’s music stretches back decades through his work alongside Ozzy Osbourne, and that history was evident throughout the set. Rather than attempting to reinvent the material, Zakk Sabbath focused on delivering it with conviction and respect. Songs such as “Snowblind,” “N.I.B.,” and “War Pigs” landed with tremendous weight, capturing the power that made the originals enduring classics. This was not a nostalgia act going through the motions; it was a tribute performed by musicians who genuinely understand the spirit of the material.
By the time Zakk Sabbath exited the stage, both opening acts had already delivered performances that could have justified the ticket price on their own. Yet the evening still had one more chapter to unfold. Soon Wylde, DeServio, Fabb, and Lorina would share the stage together as Black Label Society.
Black Label Society’s arrival was met with the loudest reaction of the night. Opening with “Funeral Bell,” the band immediately settled into the crushing groove and swagger that have defined its sound for more than two decades. The volume was massive, testing the limits of the Ryman’s historic walls, but the venue absorbed every note as the band powered through a set built on heaviness and precision.
The performance continued with favorites including “Name In Blood,” “The Blessed Hellride,” and a powerful rendition of “No More Tears.” Two moments stood out above the rest. The first came when Wylde moved from guitar to piano for a heartfelt tribute to Pantera’s Abbott brothers, Dimebag Darrell and Vinnie Paul. The respect in the room was unmistakable as fans reflected on the legacy of two musicians whose influence still resonates throughout heavy music.
The second arrived during “Ozzy’s Song” from Black Label Society’s latest album, Engines of Demolition. As images of Ozzy Osbourne appeared across the backdrop, the energy in the room shifted. The audience grew noticeably quieter, allowing the song’s emotion to take center stage. For a musician who has spent much of his career alongside Osbourne, it felt like a deeply personal tribute from Wylde to the man he often refers to simply as “The Boss.”
What ultimately made the Ryman performance memorable was the shared commitment displayed by every musician involved. Each member embraced multiple roles throughout the evening without sacrificing energy or focus. The seamless transitions between bands highlighted the chemistry among the performers, while Dark Chapel proved more than capable of holding its own alongside seasoned veterans. By the end of the night, the audience had witnessed far more than a standard concert package. It was a celebration of friendship, loyalty, and the music that continues to connect these musicians. For Nashville fans, it was a night well worth remembering.
The post Live Review: Black Label Society, Zakk Sabbath, and Dark Chapel Bring Triple the Power to Nashville’s Ryman Auditorium appeared first on Mayhem Music Magazine.
Last year, longtime Mastodon member Brent Hinds died in a sudden and tragic motorcycle accident, just a few months after he split with the band in acrimonious fashion. On Tuesday, Mastodon shared “Your Ghost Again,” a colossal new song about the losses of both Hinds and drummer Brann Dailor’s mother. On Wednesday, they played it live for the first time.
The post Mastodon Play “Your Ghost Again” Live For The First Time, Dedicating It Brent Hinds appeared first on Stereogum.
You only die 1nce, but you might release the same album 2wice. On Halloween 2024, the absurdly consistent Indiana rap monster Freddie Gibbs dropped his surprise album You Only Die 1nce. Since then, he’s re-teamed with the Alchemist for Alfredo 2, entertainingly feuded with JPEGMAFIA, and taught some karate lessons. Now, out of nowhere, Gibbs is back with a deluxe version of You Only Die 1nce that basically includes a whole other album.
The post Freddie Gibbs Releases <em>You Only Die 1nce</em> Deluxe Edition With New Songs appeared first on Stereogum.