Blog

It’s not quite the whole bloody affair, but INK show they’re ready to jump up to bigger slots at Mystic

In the contemporary music scene, many factors define a perfect song. Beautiful vocal harmonies, lush guitar works, intricate

 

The dark corridors of extreme metal have a new anthem today as the Greek powerhouse Caelestia officially premieres their latest music video, “Dead Eternal.” Released via Eclipse Records, the track serves as a brutal preview of their upcoming full-length album, Revelations In Black.

Known for their unique blend of symphonic elements and aggressive death/black metal, Caelestia has outdone themselves with “Dead Eternal.” The video is a visual masterpiece of gothic horror and extreme intensity, perfectly complementing the technical riffing and haunting vocals that the band is famous for.

Revelations In Black

“Dead Eternal is a reflection of the darkness we all carry,” the band shared during the premiere. “It’s about the cycles of pain and the eternal nature of the shadows. We wanted the video to be as visceral as the music itself.” The track was produced to the highest modern standards, ensuring every blast beat and symphonic layer cuts through with surgical precision.

As Caelestia prepares to unleash the full Revelations In Black album later this year, “Dead Eternal” stands as a definitive statement of their intent to dominate the extreme metal scene. This is a must-watch for fans of technical, dark, and atmospheric metal.

Explore the Darkness:

• Official Merchandise: Caelestia at Eclipse Records
• Latest Metal News: MTVIEW Blog

Swedish glam metal group Crashdïet has announced a short touring run in Italy later this year. Flyer with confirmed venues and dates is available below.
Read more…

As Brazil’s groove metal heroes prepare to call it quits, we speak to guitarist Andreas Kisser about their swansong EP

Finnish melodic death metal force Sigyn has officially joined the ranks of Noble Demon and concurrently present the new single and lyric video “The Crawlers”, taken from the band’s upcoming sophomore full-length From Nation To Chaos, set for release on July 10.
Read more…

Quite like its illustrious barbecue, North Carolina’s sludge offers a variety of flavors. Raleigh’s own COC serves the slow-smoked standard, Wilmington’s Weedeater plate a vinegary take on the subgenre, and even Asheville’s Bask season their heavy Americana with sludge. To stand out in this vibrant culinary scene, MAKE brand theirs as ‘thematic psychedelic noise-sludge.’ Formed in Raleigh in 2008 by Scott Endres (guitar, vocals) and Spencer Lee (bass, guitar, vocals), MAKE made waves in 2016 when they aligned with Accident Prone Records for their Pilgrimage of Loathing. Joining Endres and Lee for Exegesis at the End of Time, the band’s fourth full-length (and first in a decade), are drummer John Crouch and bassist/vocalist/synthesizer-ist Aaron Smithers.¹ MAKE’s self-description suggests a whole-hog approach² to extreme metal/rock, but branding is not execution—these ingredients must coalesce into a delicious, satisfying tray.

Exegesis at the End of Time amiably shares a table with formative noise-sludge outfits. Not just because their names rhyme, MAKE reminds me most of Rwake, insofar as a panoply of extreme vocal stylings—gutturals, anguished shrieks, shout-singing—dresses longish songs with a Southern flair (“The End of the Night”). The paradigmatic dynamism of Neurosis also makes appearances, with quiet, bass-driven incantations giving way to harsh punctuations of razor-wire riffing (“Forking Paths”). The frequent centrality of the bass also recalls Isis; MAKE similarly thrives when the low end establishes a melodic groove that opens the door to crushing dirges (“The Augur”). Though its production isn’t as thick n’ rich as I would like for a sludge record, Exegesis skillfully balances its ingredients, ensuring that riffs never get lost in the sauce.

Despite its branding, Exegesis at the End of Time doesn’t strike me as particularly ‘psychedelic.’ I think of psychedelic music as requiring acquiescence to agents of transcendence from below, so as to ascend to the noumenon. MAKE does make the effort to put listeners into a meditative headspace. “The End of the Night” opens the album with three minutes of rhythmless synth/guitar shimmering before a simple, bluesy bass line emerges. Mid-album track “Forking Path” and closer “The Augur” make similar moves: ritualistic bass sets a droning tone, an abrasive sludge-hammer responds. It is in moments like these that MAKE falters a bit as a purportedly ‘psychedelic’ act. The heavy responses frequently pulverize, but they don’t uplift to a new plane of existence. “Chimera,” one of the most straightforward songs on Exegesis, stands as something of an exception. Its chaotic ending, layering heavily-effected, high-register guitar noise over a stank-faced head-bobber, does induce a degree of transcendence.

On the ‘thematic’ side of its branding, Exegesis at the End of Time grows in enjoyment with knowledge of its lyrics, even as it feels thematically divided. In their promo materials, MAKE speaks of a singular ‘concept’: ‘[T]he order that rules our world represents a cosmic violence that will destroy us if we don’t conquer it.’³ The distorted, dissonant chords punctuating the chill spaciness of opener “The End of the Night” sonically establish earthly violence impinging upon a serene cosmos. But despite their singular concept, MAKE also outlines multiple literary influences: McCarthy, Pynchon, DeBord. The labyrinth adorning the cover suggests that “Forking Paths,” a song dramatizing the disorienting temporality of the Borgesian labyrinth, connects the album’s overarching concept to its particular literary allusions. As a retelling of “The Garden of Forking Paths,” though, the song removes [SPOILER ALERT] the climactic gunshot [END SPOILER ALERT]. In my deeper dive, the album felt like it forked between paths puzzling over possible futures (“The End of the Night”) and those explicating our destructive present (“Chimera,” “The Spectacle”). Still, the lyrics almost always enhance the tracks—the seemingly-endless tension chord in the middle of “The Augur,” for one, excellently captures Sisyphus futilely pushing the boulder up the hill.

More a conceptual record than a concept record, Exegesis at the End of Time nevertheless comprises a worthy tray. ‘Exegesis’ usually connotes long-windedness, but MAKE’s fourth album is relatively concise at 41 minutes, leaving me full but not overstuffed. It may imply a scope it doesn’t realize, but Exegesis delivers a well-sequenced smattering of thinking-man’s sludge brimming with potential. It’s not a spot to necessarily frequent, but it’s a spot that satisfies all the same.

---

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Accident Prone Records
Websites: Instagram
Releases Worldwide: June 12th, 2026

The post MAKE – Exegesis at the End of Time Review appeared first on Angry Metal Guy.

Blues Rock Review is exclusively premiering the music video for Sherri Harding’s “Through It All,” featuring Jeff Rogers.

The song is featured on Harding’s newly released album, Storyland, which arrived June 5 via Instant Replay Music. Blending soul, blues, and R&B, the album showcases Harding’s powerful voice across a collection of songs centered on love, resilience, and life’s hard-earned lessons.

“Through It All” is one of the album’s standout tracks, pairing Harding with fellow Canadian vocalist Jeff Rogers for a heartfelt duet about enduring love, loyalty, and perseverance. The accompanying video reflects the song’s emotional core, allowing the performance and message to take center stage.

“I loved the song THROUGH IT ALL from the first time that Dick Cooper played me his demo version,” says Harding. “It’s about loyalty and never giving up on something real, even when the odds are stacked against you. Turning it into a duet with the incredible Jeff Rogers made it all the more special. And for the video, we wanted something that matched to emotional honesty of the song. Nothing over the top. Chris Paine, the videographer, got the vibe right away. We had a great team!”

Storyland continues Harding’s connection to the legendary Muscle Shoals music scene. The album features contributions from acclaimed Muscle Shoals guitarist Kelvin Holly, while the iconic Muscle Shoals Horns recorded their parts in Alabama. Grammy-winning engineer Jimmy Nutt mixed the album at The NuttHouse in Muscle Shoals.

Harding has earned a reputation as one of Canada’s premier soul and blues voices, and Storyland further showcases her ability to blend heartfelt storytelling with authentic Southern soul influences. “Through It All” serves as a fitting example of the album’s themes, delivering a powerful message of commitment and staying true to what matters most.

Watch the exclusive premiere of Sherri Harding’s “Through It All” featuring Jeff Rogers below.

The post Video Premiere: Sherri Harding – “Through It All” appeared first on Blues Rock Review.

The musical journey of Blackberry Smoke began in Atlanta, Georgia, where the band officially formed in 2001. Anchored by lead vocalist and lead guitarist Charlie Starr, rhythm guitarist Paul Jackson, bassist Richard Turner, and keyboardist Brandon Still, the group initially secured their foothold on the competitive Southern touring circuit; co-founder and drummer Brit Turner rounded out the original lineup, providing the steady heartbeat of the band until his tragic passing from glioblastoma in March 2024. In the early days, the group steadily built an intensely loyal grass-roots following by playing tireless live sets and eventually securing opening slots for legendary

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

Swedish progressive metal outfit Binary Creed has recently put out a brand new single titled “The Madness From Within”. Check it out.
Read more…