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Mastodon has released “Your Ghost Again,” the first single from the band’s upcoming ninth studio album, due later this year. The track was produced by Patrik Berger (Taylor Swift, Robyn) and Converge guitarist Kurt Ballou. It is the first piece of new Mastodon music to be released since the death of co-founding guitarist and vocalist Brent Hinds.

In a video accompanying the single’s announcement, the band described “Your Ghost Again” as a tribute to Hinds. Drummer and vocalist Brann Dailor said, “‘Your Ghost Again’ is about when you lose somebody that’s close to you that you’ve existed with for most of your life. When we were in the studio recording, I kept seeing Brent. I’d see him on my right holding the guitar because that’s where he’d usually be. It’s the same with my mom: I keep seeing her. I was just singing about what I was seeing, and I was seeing ghosts.”

Dailor elaborated: “It’s about being in those familiar places you used to be with people, which for us is in the studio. I just kept seeing [Brent] out of the corner of my eye, where he would normally be with his guitar. It’s about that: your mind plays tricks on you, especially so soon after someone dies and you’re in the places where they always were. You just see them.”

Bassist and vocalist Troy Sanders added, “My portion of the song, lyrically, is all about Brent, and for Brent. The bridge lyrics are two lines of pure gratitude towards Brent. It’s all the gifts from you, now you can take them back where you must go — meaning you came into my life, you exposed me to things that blew my mind, together we conquered thousands of stages around the world, had magical moments that we can never repeat again, but all the beauty that you brought it still remains, always will, and it’s just a line of gratitude because that’s important that we include Brent.”

Guitarist and vocalist Bill Kelliher commented, “We wanted to pick a song that sounds like Mastodon, and that has all the things in there, because it’s the first impression of what people are gonna hear. It speaks about things that have just happened and people passing.”

The upcoming album will also feature keyboardist João Nogueira, alongside touring guitarist Nick Johnston, who reportedly appears on the LP. Dailor said, “Hopefully this album helps everybody. Hopefully, they can find some piece of it that speaks to them about it. I know Brent’s not there, and it’s weird and it’s hard, and some people might be like, ‘Well, I don’t wanna listen to it because Brent’s not there and I’m hurting about that,’ but we are too. Big time. It means a lot to me, and I hope that’s able to translate to our fans and people who are grieving, too.”

Hinds had departed Mastodon in March 2025 after the band announced they had “mutually decided to part ways” after 25 years together. He was killed on Aug. 20, 2025, when he was struck by an SUV that turned left and failed to yield at the intersection of Memorial Drive SE and Boulevard SE in Atlanta, approximately two miles from downtown. He was found unresponsive by officers who responded to the crash around 11:35 p.m. and was pronounced dead by medical workers.

According to a crash report, investigators determined that Hinds was at fault for the accident: relying on video of the intersection, they calculated he was traveling between 63 and 68 mph — roughly twice the speed limit at the site.

Hinds had played his first show since exiting Mastodon on March 21, 2025, with his band Fiend Without a Face at 529 in Atlanta. He had also been active with Giraffe Tongue Orchestra — alongside members of The Dillinger Escape Plan and Alice in Chains — and Legend of the Seagullmen, and had an “An Evening With Brent Hinds” European tour planned for November and December 2025. “I’m a free spirit,” Hinds said in the Mastodon documentary The Workhorse Chronicles. “I enjoy life, and I live it to the fullest.”

The post MASTODON Stream New Single “Your Ghost Again” — A Tribute To Late Co-Founding Guitarist BRENT HINDS appeared first on Sonic Perspectives.

Source

Hot on the heels of Mastodon’s new single “Your Ghost Again”.

The post Mastodon Announce ‘The Poisonous Weapons Tour’ With Deafheaven & Alcest appeared first on Theprp.com.

German heavy metal legends Accept kick off their celebration of 50 historic years with a new version of their classic hit, ‘Fast as a Shark‘, originally released on ‘Restless and Wild‘ in 1982. This new rendition of one of the genre’s most iconic songs features metal legends Phil Anselmo, Kirk Hammett, Mikkey Dee, and Billy […]

The post Accept Celebrate 50 Years of Heavy Metal With Newly Re-recorded Version Of ‘Fast as a Shark’ appeared first on ROCKPOSER DOT COM.

GENTLE GIANT’S IN A GLASS HOUSE RETURNS IN NEWLY REMIXED AND REMASTERED EDITION TO BE RELEASED ON 31^st JULY ON MADFISH

Gentle Giant ‘In A Glass House’ artwork

WATCH THE NEW TRAILER FOR IN A GLASS HOUSE

One of progressive rock’s most daring and influential albums, In a Glass House by Gentle Giant returns in a powerful new form, newly remixed and remastered by Grammy Award-winning producer Eber Pinheiro alongside the band’s own Derek Shulman.

Originally released in 1973, In a Glass House stands as a bold artistic statement that pushed the boundaries of composition, musicianship, and studio experimentation. With its intricate arrangements, shifting time signatures, and thought-provoking themes, the album remains a cornerstone of progressive rock and one of Gentle Giant’s most celebrated works. The album features some of the band’s most enduring compositions, including “The Runaway,” “Experience,” and the epic closing title track “In a Glass House.”

For the first time ever, In a Glass House has been newly mixed and made available in both 5.1 surround sound and Dolby Atmos, opening up the album’s dense arrangements and intricate performances in an entirely new way.  

WATCH THE NEW VIDEO FOR ‘WAY OF LIFE’

“When we made In a Glass House, we were pushing ourselves musically and creatively in every direction,” said Derek Shulman. “Hearing the recordings again and being able to remix them with today’s technology has revealed details and textures that were always there but never fully heard. We wanted to present In a Glass House the way we always hoped it could sound, clearer, more dynamic, and true to the original vision. The detail in the performances really comes through in this new mix.”

“The Dolby Atmos and surround mixes really allow the listener to step inside the music,” Shulman added. “It’s incredibly rewarding to hear the album take on a new life while still staying completely true to what we created in 1973.”

PRE-ORDER THE NEW EDITIONS OF IN A GLASS HOUSE

DELUXE 2-DISC CD AND BLU-RAY EDITION FEATURING STEREO, 5.1 SURROUND SOUND AND DOLBY ATMOS MIXES

180G HEAVYWEIGHT BLACK VINYL

ULTRA CLEAR 180G HEAVYWEIGHT VINYL

CD EDITION PRESENTED IN FAITHFUL REPRODUCTION PACKAGING FEATURING THE ICONIC 1973 CLEAR WINDOW ARTWORK

For longtime fans and new listeners alike, this new edition of In a Glass House presents the album with greater power, depth, and transparency than ever before, reaffirming its place as one of the defining recordings of the progressive rock era.

The release will be available in multiple formats, including a standard 180g vinyl LP, limited edition clear vinyl, CD, and a deluxe CD/Blu-ray edition featuring stereo, 5.1 surround sound, and Dolby Atmos mixes.

Gentle Giant

In A Glass House tracklist

1 – The Runaway (7:24)

2 – An Inmates Lullaby (4:28)

3 – Way of Life (7:52)

4 – Experience (7:48)

5 – A Reunion (2:11)

6 – In a Glass House (7:39)

7 – Index (1:20)

Release Date: July 31st, 2026

Pre-Order: https://linktr.ee/gentlegiantband

Download images: www.madfish.com/media/gentlegiant

www.madfishmusic.com

(written by Islander) Ill winds usually blow no one any good, or so the old saying goes, though in its earliest expression (before the meaning morphed) the writer John Heywood actually suggested that a wind unlucky for one person would bring good fortune to another. In the case of the Peruvian band Illwind, they have […]

The post AN NCS PREMIERE: ILLWIND — “LUCIFER’S MULE” appeared first on NO CLEAN SINGING.

Album Review: Dead Void – Cranial Devastation

Reviewed by Sam Jones

One of the many bands playing this year’s Kill Town Death Fest, Dead Void will also be releasing their sophomore studio album for early June and likely perform said new material come their set. Formed right in the heart of Copenhagen, Denmark, Dead Void are merely one of the expansive pantheon of names making up Denmark’s sprawling extreme metal scene. Their early years saw a peppering of Demos but with the onset of 2022 they took their first stride forward with Volatile Forms, a monstrous album topping many people’s best of the year lists. Four years on Dead Void are back with Cranial Devastation set for a June 6th release, once more distributed through Me Saco Un Ojo Records, and are ready to blitz synapses a second time round with their harrowing death/doom.

Cranial Devastation is a heavy record, that much is abundantly apparent from the start since Dead Void’s atmosphere is dripping with sinister desires. Though their tempo is mostly steady and allows their riffs to convey the encroaching horror unfolding therein, Dead Void are more than prepared to intensify their songwriting with faster and more rabid fervour. The overall feeling derived doesn’t change too much but their meaty riffs, compacted and brought into greater succession, infers a more manic performance, the kind that truly sells desperation experienced in unknown circumstances.

The energy brought forth from their faster songwriting is incredible. The riffs and guitar tone, the kind most acts would preserve solely for slower and trudging sequences, are still employed during Dead Void’s most frantic moments. This rapid-fire succession of fat notes with guitar resonance that doesn’t stick around to know your response to them crafts a sickening and noxious atmosphere, infusing breakneck speed with terrible weight that like a landslide gathering momentum belies every ounce of boulder and jagged rock in its tumult.

The very beginning to the record highlights the bass and as the initial chords begin you’ll always know where the bass is within the mix and how it’s contributing to the record as a whole. This is the case for Cranial Devastation throughout its duration for its bass tone is explicit, and I’d argue it’s the primary source of crushing heaviness for Dead Void’s songwriting; the tone and soloing and vocals are equally important, but it’s undeniable the bass possesses an incremental position. The riffs carry you from one track to the next but it’s the bass that tickles your ears and informs you just how relentless the band are about to become. It’s the bass lines that aid the band in establishing their cavernous sound, especially since Dead Void seemingly perform this record from a cave’s mouth and what’s recorded is that very subterranean utterance.

Whilst the vocals themselves are nothing especially new to death/doom I appreciate the cadence and near-theatricality thrown into them. Given both members share vocal responsibilities on record it’s this interplay of differing styles that gives Cranial Devastation’s vocal element its menacing, straining deplorability. Their vocals don’t merely sit on a single plain unmoving; the record’s topography is constantly shifting with the tracks so there are times where the vocals rise and fall, they climb to shrieking monstrosity, they’ll rise with unabating mania all the while bellowing afar as this echo invokes the cavernous atmosphere aforementioned.

In conclusion, Cranial Devastation is a blitzing, ferocious ride that will take you from your mundane surroundings into a world of nightmares and anguish. It’s this beast that rolls with greater momentum the further in you go, so by the album’s end Dead Void have accumulated such frantic strength their eyes popping out of their sockets and their synapses are verging on snapping. Though their pace often rises to furious scope the songwriting never feels to escape you, that for all their wanton slaughter their performance constantly has you tied and bound to their side at every moment. Cranial Devastation will have you discovering new pieces on subsequent listens but that doesn’t mean the first listen won’t have you receiving the full breadth of Dead Void’s sound.i’m confident this record will be just as well received as their first and I am doubly excited to see them perform at this year’s Kill Town Death Fest.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Album Review: Dead Void – Cranial Devastation appeared first on The Razor's Edge.

Fenne Lily is back. The Brooklyn-via-UK singer-songwriter entranced many indie-folk fans with 2023’s Big Picture, and she’s getting ready to do it again with Win Win this fall. The poignant lead single “Uh Huh” is out today. “Writing in the third person was the key here — it felt like I was summing up the…

The post Fenne Lily Announces New Album <em>Win Win</em>: Hear “Uh Huh” appeared first on Stereogum.

One of the most distinctive and revered forces in rock music, Sweden’s Graveyard has announced October 9th, 2026, as the release date for their highly anticipated seventh studio album, Fever. Three years after the dreamlike haze of much-lauded previous record Six, the band returns with a heavier, more direct sound — while still carrying the blues-soaked soul that defined their breakthrough album Hisingen Blues.

Graveyard commented: “Alright folks. Here it is — album number 7, Fever. Haven’t we always had it? The itch, the burn, and the restlessness. The urge to push forward into the fog. Even with the teeth of hopelessness snapping at our asses and all the smoke and mirrors of our time telling us we’ve got no future. Come what may. Let’s go!

This time around, we decided to waste no time. No outside producer. No detours. Just Graveyard, straight to the point, doing what we do best. This just might be our greatest album so far! Hope you like it, too.”

The striking artwork for Fever was created by acclaimed Dutch artist Maarten Donders, whose powerful and expressive visual style has been showcased at the renowned cult festival Roadburn. Over the years, Donders has created artwork for more than 50 artists, ranging from Acid King to Frank Zappa.

Handling mixing duties is Pelle Gunnerfeldt, celebrated for capturing the raw intensity of bands such as The Hives and Refused, while more recently working with Viagra Boys.

Furthermore, Graveyard has confirmed the first leg of their 2026 / 2027 tour with Blues Pills. Scroll down for all confirmed shows. Stay tuned for more European dates to be announced!

Graveyard Live with Blues Pills & Skraecködlan Dates:

31.10. SE Eskilstuna, Lokomotivet *
06.11. SE Mejeriet, Lund *
07.11. DK Århus, Voxhall *
13.11. SE Örebro, Club 700 *
14.11. SE Karlstad, Nöjesfabriken *
20.11. SE Falun, Magasinet *
21.11. SE Norrköping Arbis *
27.11. SE Göteborg, Gothenburg Film Studios **
28.11. SE Stockholm, Fållan **

*with Skraecködlan
**with Blues Pills

The post GRAVEYARD Announces New Album “Fever” & Shares Dates For Fall Europe Tour With BLUES PILLS appeared first on Sonic Perspectives.

Last weekend, Calgary experienced an incredible two-night run with The Slackers at Inglewood’s Ironwood Stage & Grill. Jory Kinjo and the Relays were alongside as the local supporting act, and both nights were sold out.  

Nestled in the heart of Calgary is the old Garry Theatre, now home to the Ironwood. This venue features a cozy atmosphere and an ideal layout for intimate live performances, with tables surrounding a small dance floor in front of the stage. While the kitchen served up delicious food, the bar kept the drinks flowing, and the crowd buzzed with excitement, all eager to dive into an eclectic night filled with reggae and ska.  

Jory Kinjo and the Relays kicked off both evenings, instantly getting everyone off their seats and out on the dance floor each night. Their energetic set boasted crowd favourites like “Spooky Reggae” and “Timebomb,” as well as a rendition of the Jackson 5 classic, “I Want You Back.” Tracks like “Don’t Wanna Miss the Dance” had guys and gals skankin’ across the floor, creating a captivating vibe. On the second night, the excitement surged as The Slackers’ Vic Ruggiero joined the band on stage for “Tighten Up Your Gird,” a song Jory and Vic had written and recorded together. Vic’s undeniable stage presence sent the audience into a frenzy, while the laid-back reggae rhythms had people tapping their feet and swaying to the music. Proving, as usual, Jory Kinjo and the Relays are the perfect openers for The Slackers.  

Hailing from New York City, The Slackers have always had a special connection with Calgary. Over the years, they’ve made numerous visits for shows and solo gigs. This recent appearance at the Ironwood marked their return to the venue after nearly two decades. The energy of their live shows is consistently entertaining and spontaneous, with two sold-out nights in Calgary, we were in for a treat. Both nights, The Slackers seduced the audience with impressive horn solos and infectious dance grooves, while also improvising on their iconic tunes. Their stage presence was engaging, with comical banter woven throughout their set each night. Each evening The Slackers had a different setlist, while keeping a few hits for both nights, like “Watch This,” “Wasted Days,” and “Have the Time;” as well as a newer track, “Hold On.” The remaining songs varied each night, as did the atmosphere. 

On the first night, a chunk of the crowd were newcomers, so The Slackers ensured they left satisfied. Treating the audience to beloved tracks like “Sarah,” “This is the Night,” and “International War Criminal,” the crowd danced throughout their set. Vic Ruggiero (vocals, organ, tambourine, harmonica) educated us on how the Germans pour a perfect pint, amusing the audience and laughing at his own instructions. As the night wrapped up, the band took requests, and Glen Pine (vocals, trombone) decided on an exotic twist, playing “Minha Menina,” – a track you don’t hear live often. And although they didn’t do an encore, tomorrow they would return for another show.  

Friday night marked their second and final performance, and it was a bit rowdier. Both nights were sold out, but Friday felt packed to the brim. Bassist Marcus Geard made a striking entrance in a stunning purple pinstripe suit, instantly wowing the crowd. The Slackers kicked off the night in the same manner as the evening before, playing songs like “Old Dog” and “I Still Love You”; the crowd sang along the entire time. Tracks like “Married Girl” and “Sooner or Later” had the audience screaming for more. This time they returned for an encore. Again, they invited the crowd to make requests; “Happy Song” and Bon Jovi’s “Dead or Alive” were among the chosen. As the evening drew to a close, the audience felt a wave of bittersweet emotion, reluctant to let go of such a memorable night. Dave Hillyard (Sax) couldn’t help but laugh that two nights simply weren’t enough—he was right.

Both nights with The Slackers were truly stellar. Calgarians appreciated getting two shows and we showed our gratitude by selling out both nights. It’s clear that The Slackers have a special place in their hearts for Calgary, and I can confirm that Calgary feels the same way about them. We’re already counting down the days until their next tour!

Check out more photos below.