In the ninth instalment of the series, Louder Than War contributor Martin Gray takes a look back at one of the strangest and most downright deranged albums ever released, 20 Golden Showers by Bubonique, and shares the open secret of its co-conspirators in crime. Read on to discover their identity. Part One: Background: before the […]
The post Lost In The Time Tunnel #9 – Bubonique : 20 Golden Showers (originally released 1993) appeared first on Louder Than War.
Marmozets have released a statement revealing that bassist Sam McIntyre is no longer a part of the band.
Sam has been with Marmozets since their inception, playing on every song and album, including the band’s latest ‘CO.WAR.DICE., which arrived earlier this year.
They have spent 2026 so far touring, including returning to festival stages such as 2000trees and Download.
In a statement shared to the band’s socials, they had this to say:
“We’re taking the time, while on a little break, to inform you that we have parted ways with Sam Macintyre due to the relationship becoming unworkable despite our best intentions and attempts.
Please be assured that this decision is in the best interests of everyone involved.
Thank you for all the love and support and we’ll see you soon…
Becca, Jack and Josh.”
The post Marmozets And Bassist Sam McIntyre Have Parted Ways appeared first on Rock Sound.
From Kansas City, MO comes Radkey, a pop-punk rock trio of brothers, Dee, Solomon, and Isaiah, who wear their hearts and influences on their sleeves. Having seemingly consumed a healthy diet of Chicago punk, the Ramones, and the Foo Fighters, their latest album, Bedroom Sand, is eight songs in under twenty-five minutes of rock and roll bliss that hit all the right notes. This record is short and punchy, and aesthetically filling. Let’s dig in.
An eight-song album sometimes feels slapped together: too long to be an EP, but not long enough to be a full-length. Sometimes it can feel too lean. However, there’s just enough fat on these songs to keep them from feeling overindulgent, even if its track count leaves you wanting more. Bedroom Sand opens with a track that puts it all out on front street: big drums, riffs, and high energy, “Victory.”
A fantastic start to an album that surprised me in many different spots. Taking a page from the Dave Grohl playbook, you would think that the band had spent all their energy on that first track, but this train keeps moving. Radkey pivots to the steady one-two punch of punk rock that is “Falling Out of Grace” and “Welcome to the Backyard.” The first side closes with the bouncy and poppy album-titled track, “Bedroom Sand.” It may taper off the sound a bit, but it’s a good breather that serves as a thematic midpoint serving as a tonal pivot before jumping into the rest of the album.
Side two is just as solid as side one. Opening with “Strays,” a sort of love song for the unloved about the band’s many rescue cats, Radkey managed to subvert expectations but still deliver a track that delivers on what it proposed. There seems to be this underlying feeling that the band doesn’t feel good enough, but “Return to the Sky” and “The Heartless” definitely prove that theory wrong. The record closes with the surfy lo-fi burnout anthem, “Ready to Burn.” It would be a weird song to end the album on, energy-wise, if it wasn’t a great capper to a tight record. Feelings of being outsiders are peppered through Bedroom Sand, but it’s very clear their voice and sound is more than welcome.
Radkey’s Bedroom Sand is a great record. On top of the influences listed above, there are fingerprints all over the record from bands like Squeeze, Hüsker Dü, and the Cars. Lyrics take inspiration from the anime they consume to the feelings of embarrassment at being the worst person in your friend group. Its condensed track list and big sound make this pick a no-brainer. Eight tracks represent a band who clearly put work and love into their craft. The proof is in the record itself. While the band is definitely ready for the radio, we’re lucky to have them here in punk rock. Radkey’s Bedroom San is out now on Little Man Records.
by Geoff Bailie
Released in July 2026 for, presumably, its 50th anniversary, this Yes release comes off the back of two years where multiple new and archive releases have appeared. As a fan of YesAll, that’s not a complaint – it’s amazing! Jason Jones and the team at Rhino who have produced the recent box sets and Record Store Day releases are once again behind this one… and the bar continues to be set high. The packaging doesn’t give us a lot of information and so the assumption is that this is sourced from the radio broadcast of the 1976 show rather than a multi track that could have had some mix / balance fixes – but don’t worry, you’ll not come away thinking you’ve listened to a bootleg!
The story so far … Patrick Moraz joined the band on keyboards, and very quickly they made Relayer before they headed out on tour. Having toured that album, and their position as a live draw being undiminished, they went their separate ways to make solo albums, before what’s become known as the Solo Albums tour in 1976. By this the 17th show of the tour, the solo album material was dropped almost entirely except for some of Story of I in Moraz’s solo and some Olias from Jon as his pot, and was replaced with Ritual from Tales… and that’s the set list of this release.
What you have hear is a powerful performance by, by now, a well drilled band, playing with the same fury and energy as they did in the classic Yessongs era. Siberian Khatru starts the show off and the band hit the ground running. It’s notable that Moraz isn’t doing a straight copy of Wakeman’s part, but he’s not doing anything that makes you feel something is missing. The pace is relentless as the band tackle two from Relayer – a superb live version of Soundchaser with incredible guitar parts from Howe (there is great use of left/ right panning during the guitar cadenza which really brings the piece to life), and searing solos on the keyboards, followed by Gates of Delirium, with its bass and drums showcases. Of course, Gates ends with the beautiful Soon, and Jon Anderson sings incredibly on this hymn-like finale to the suite.
With about 25,000 people in attendance, the crowd get rewarded with I’ve Seen All Good people, and you can hear the audible excitement in their responses. An acoustic Long Distance Runaround follows – if you’ve heard the QPR version it’s similar to that except Howe adds some electric guitar licks in places. That’s all a set up for the solo section, starting with Moraz playing Cachaca (Baiao) and leading into Howe’s familiar Clap. With release of Olias of Sunhillow still being a few weeks away, it’s hard to know what the crowd made of the excerpts played. I think for those who hadn’t heard Olias (everyone?) they probably just considered this to be a harp solo, with some keys and occasional guitars – but it gets plenty of cheers and is one that it’s good to have a great quality release of in the collection.
Solos over, it’s back to the epics and to Ritual! Tales may have had its critics over the years, but the crowd give a great response to this powerful live piece. Writers, Anderson and Howe sing and play beautifully throughout this, and of course Squire and White get that incredible bass and drum feature before the closing Nous Sommes Du Soleil. Moraz is at a bit of a disadvantage due to the few prominent keyboard parts on this track, and it feels like he is also quite far back in the mix, but it still sounds magnificent.
In show terms, it has been about an hour since I’ve Seen All Good People, and the crowd (who have maintained their energy!) are rewarded with Heart of the Sunrise. Listen out for Alan White’s inventive playing during the opening bass solo… there’s a large hint of Bruford, yet something uniquely his own. Jon’s shakers are a bit loud, compared to the Mellotron, but this version rips along with a Yessongs-like energy, as the crowd whoops and whistles. This all leads to a lightning pace Roundabout which you might imagine would be the closer but… Yes return with, I imagine at the time, an unexpected cover of The Beatles’ I’m Down, notable for some great playing from Steve Howe.
It has only been in recent years that the Yes archives have been opened to reveal some amazing live recordings from the 1970s – and this is a worthy addition. The Moraz line up was relatively short lived and this excellent release is a definitely worth picking up if you’re a Yesfan for its mix of lesser-played live tracks and incredible playing by every band member.
LIVE AT ROOSEVELT STADIUM, JERSEY CITY, 17 JUNE 1976
2CD Track Listing
Disc One
“Apocalypse” *
“Siberian Khatru” *
“Sound Chaser” *
“The Gates Of Delirium” *
“I’ve Seen All Good People” *
“Your Move” *
“All Good People” *
“Long Distance Runaround” *
“The Story Of I” (excerpt) *
“Clap” *
“Olias Of Sunhillow” (excerpt) *
Disc Two
“Ritual” *
“Heart Of The Sunrise” *
“Roundabout” *
“I’m Down” *
* Previously Unreleased
3LP Track Listing
Side A
Apocalypse*
Siberian Khatru*
Sound Chaser*
Side B
The Gates Of Delirum*
Side C
I’ve Seen All Good People*
Your Move*
All Good People*
Long Distance Runaround*
The Story Of I (excerpt)*
Clap*
Olias Of Sunhillow (excerpt)*
Side D
Ritual- Nous Sommes Du Soleil*
Side E
Heart Of The Sunrise*
I’m Down*
* Previously Unreleased
The post Yes – Live At Roosevelt Stadium Jersey City – 17 June 1976 (Album Review) appeared first on The Prog Report.
As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).1 The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.
Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.2 Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.
The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.3 Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.
At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.
Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026
The post Into Darkness – Route to the Outer Side Review appeared first on Angry Metal Guy.
And now, the end is near, and so we face the final day of 2000Trees 2026. It’s been beyond a blast, but it’s not over yet: we’ve got new favourites, old friends and one heck of a headliner to mark the close of the biggest little festival in the world!
“Chill, It’s Frozemode!” – The shoutout is doubly ironic considering it’s hot enough to cook an egg on your laminated clashfinder today, and Frozemode are anything but mellow. They’re a starting pistol for the day, with hiphop bars and ska beats heard on ‘Stick That’. ‘Vermin’ bring catchy melodies, a carnival atmosphere and a packed-out field of festival-goers ready to get dancing.
BattlesnakeThe power-metal iconoclasts who may or may not have murdered the Devil (at least according to their track ‘I Killed Satan’) are leading a crusade against seriousness. ‘The Battlesnake’ rocks by way of Led Zep and Spinal Tap via the planet Arrakis, and ‘I Am The Vomit’ proves the Aussie world-builders are the scourge of boredom, a source of endless entertainment.
Heart Attack ManThe Hammy Army are out in force for the sarcastic millennial punks. ‘Pitch Black’ brings the nihilism and arcade guitar, but it’s ‘Spit’ that drags us to the front for the “seasoned veterans” of 2000Trees. Who cares about the UV Index when Heart Attack Man are dropping ‘Like a Kennedy’ or providing a surreal juxtaposition with the fancy dress circle pit during ‘Lay Down and Die’?
Dead PioneersUnflinching and uncompromising, Dead Pioneers are impossible to ignore. The indigenous hardcore punks light a torch with ‘No Kings’, a song which blazes with righteous fury against the systems of oppression. Uninhibited, dissenting street poetry gives way to a Roger Miret energy on ‘Never Alone’, and their unique voice reminds us that the personal is not only political, but also very pit-able.
High RegardOver at the Forest Stage, the atmosphere is infinitely more serene as High Regard create chaos, only to then rise above it. Their prickly guitar lines and shady sentiment flourish among the trees, and when breakout single ‘Dead To Me’ drops, we’re hypnotised into a compact yet joyful slam as water pistols fire above. Delicacy and fury are delivered with a spin and a smile, and we’re eager to see where they’ll go next.
Mouth CultureIf we’re talking about bands whose momentum never slows, look no further than Mouth Culture. They “played here two years ago at 11am” and now they’re leading a circle pit around a cartoon shark on the main stage. When they go heavy, they’re brilliant, but today it’s the mellow summertime melancholy of ‘Happier’ that has Mouth Culture at their best. “It’s the first time we’ve played a main stage,” explains Jack Voss, and based on the moody, striking ‘Regret 101’, it won’t be the last.
As Everything UnfoldsAs Everything Unfolds provide a hefty dose of heaviness that’ll make you nod in affirmation throughout a tense set. They deliver lightning-sharp crashes on ‘Set In Flow’ that are punctuated with beachballs to a packed-out Axiom. We’ve got big jumping numbers, rare treats like ‘Twilight’ and euphoric vocals on ‘Let Me Go’, all in a show that speaks to everyone across the Trees spectrum.
Marmozets‘A Kiss From A Mother’ provides a punchy start for the crowd waiting for Marmozets. New song and anti-ballad ‘Closer To You’ sends our hands waving after ‘Play’ provides mighty garage guitar and rebel energy. “I’m the happiest woman alive right now” vocalist Becca Bottomley shouts, and we’ve got to be coming in as a close second due to the sheer joy of seeing Marmozets live on the biggest stage.
Ho9909The duo promise us a death cult, and they might just get one. Every song thoughout Ho9909’s set feels like a welcome rainstorm, or a portal to another world where the boundaries between hardcore and rave mean nothing. Just when we’ve got a handle on their majestic and complicated beats, they trick us with cheesy nineties samples, but that’s why we’re rammed into the Axiom for Ho9909: the sense of the dark, unknown and fantastic.
The Xcerts Let’s calm ourselves down with a rock party that sounds like the clouds parting to reveal a ray of sunlight. The Xcerts beam out ‘I Do It To Myself’ before the rippling guitars of ‘wow” explodes with sensitive lyrics and riffs that sooth like aftersun. Their welcome and genuine emotion is only outdone by how pristine their white t-shirts are.
GlassjawGlassjaw give us a set which challenges then inspires from the very start. ‘Tip Your Bartender’ makes us feel like we’re a Rubik’s Cube that they’ve mixed up, and whether you’re tumbling in the pit or picnicking at the top of the hill, you’re enthralled. The clattering whirlpool of ‘Mu Empire’ sucks us in with it’s twists and turns, making Glassjaw one of the most thrilling acts of the weekend.
Dinosaur Pile-UpAnother incredibly full tent plays host to another set that makes us realise how far we’ve all come since the wallflower days of our youth. ‘Bout To Lose It’ shoots grunge prom vibes into the air like confetti before the retro, Ramones-influenced ‘Punk Kiss’ and ‘Stupid Heavy Metal Broken Hearted Loser Punk’ booms out over the nodding heads and inflatable bananas. “This is fucking crazy!” Matt Bigland yells, but it’s only what Dinosaur Pile-Up deserve.
Neck Deep“True fucking unity” is what Neck Deep are aiming for, and they achieve it. While they’ve graciously adopted their label as “generic pop punk”, the second Welsh headliners of the weekend offer us so much more. Their 90-minute performance, despite protestations that they’d rather be watching the football, is a perfect goodbye that brings together every single corner of the Trees site into one glorious manifestation of the joy of pop punk.
‘When You Know’ or ‘A Part Of Me’ might be the love songs of the weekend, and ‘Lowlife’ cements them as the successors Blink-182 should acknowledge, but when Neck Deep drop a banger like ‘More Bricks’ or ‘Where Do We Go When We Go’, there’s a enchantment that can’t be replicated or bettered as a goodbye to Trees. We’re feeling the unity through ‘December’ (because why not drop a Christmas song in the middle of July?) before the band take a bittersweet final jump through ‘In Bloom’, because Neck Deep throw a farewell party that hits the right note across the board. Or, rather, across the field.
Kate Allvey