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  • Incantation Has a Food Drive Going as They Tour North America

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    Who says you have to be an angry, misanthropic motherfucker all the time when you’re in a death metal band? Especially when you can kick ass and take care of your common man like the dudes in Incantation. During their ongoing ‘Praise the Beast North American tour’, they’ve recently announced a food drive effort to help food insecure folks get the help they need.

    At each of the remaining shows, the band is asking that fans bring non-perishable food donations — think canned food, dry goods, basically things that don’t go bad — at the door. There will be a donation box by the entrance where those donations can be collected.

    Speaking with our friends over at Decibel Magazine, Incantation frontman John McEntee said part of the inspiration for this effort came about when an issue cropped up on tour that left Incantation without access to venue hospitality at each show. That resulted in the band not having meals for several nights.

    “As a musician, I have had times when things have been tight, including the last few years, so I know how difficult it is to sometimes choose between medical bills and paying for food or housing. I understand this is the life I chose and, in fact, I’m proud of it,” says longtime frontman .

    “The are others less fortunate who don’t even have the chance to afford food or shelter. So, I decided to have a food drive at the remaining shows on this tour and donate to the local food banks in the venues’ communities.”

    In a Facebook reel posted yesterday, McEntee explained that this was a slapdash effort but he felt compelled to try to help local food banks at each stop. Though he admitted that they’re “just a freakin’ death metal band,” he said he wanted to help people the that need help.

    “I know what it’s like, and I don’t want anybody on the face of the Earth to go through this. We have had so many people reach out with help after I made my last post about our hospitality issues, and all of us in the band appreciate all the kind gestures. The more I thought about it, the more I realized there are people in much more dire situations. We will get through our own stuff, but we need to help others. We need to give back. If you are local to these cities and can help us transport the donations, please reach out!”

    So if you’re planning on catching the Belphegor, Incantation, Hate, and Narcotic Wasteland show at one of the remaining stops, be sure to bring some non-perishable foods and hygiene products/toiletries. If you’d like to attend one of the shows, check out the list of remaining dates below and get your tickets today. It’s for a good fucking cause.

    02/27 Albuquerque, NM @ Launchpad
    02/28 Haltom City, TX @ Haltom Theater
    03/01 Houston, TX @ Scout Bar
    03/02 San Antonio, TX @ Paper Tiger
    03/05 Mesa, AZ @ The Rosetta Room
    03/06 San Diego, CA @ Brick by Brick
    03/07 San Francisco, CA @ DNA Lounge
    03/08 Roseville, CA @ Goldfield Trading Post
    03/09 Los Angeles, CA @ 1720
    03/10 Anaheim, CA @ The Observatory

    The post Incantation Has a Food Drive Going as They Tour North America appeared first on MetalSucks.

  • Lamb Of God Release “Blunt Force Blues,” Reflect On Richmond Roots Ahead Of Into Oblivion

    Lamb Of God Release “Blunt Force Blues,” Reflect On Richmond Roots Ahead Of Into Oblivion

    Lamb of God has dropped “Blunt Force Blues,” the final preview of their upcoming album Into Oblivion, turning their focus inward as release day approaches. With the record arriving March 13 via Epic Records, the Richmond metal institution is revisiting the local scene that forged their sound more than 25 years ago.

    Where earlier singles showcased the band’s trademark aggression, “Blunt Force Blues” feels personal—a reflection on community and longevity. Frontman Randy Blythe explained:

    “We learned how to play by watching and hanging out with other local dudes. That’s what we aspired to do — keep up with good local bands. They were just as much of an influence on us as any of the bigger bands from different cities.”

    Guitarist Mark Morton framed the track—and the album at large—as a creative reset.

    “For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation,” he said, adding that the band has returned to a simple guiding principle: “Let’s just make music that we think is cool.”

    Produced and mixed by longtime collaborator Josh Wilbur, Into Oblivion was recorded across locations deeply tied to the band’s identity. Drums were tracked in Richmond, guitars and bass at Morton’s home studio, while Blythe cut vocals at Total Access Recording in Redondo Beach—the historic room that once hosted foundational punk releases from Black Flag, Hüsker Dü, and Descendents.

    The album rollout has been relentless. “Sepsis” paid homage to the early ’90s Richmond underground, with Consequence praising Morton’s “bruising” riffs and comparing Blythe’s delivery to a “heavy metal Nick Cave.” “Parasocial Christ” followed—dubbed an “anti-tech thrasher” by Revolver—before the ferocious title track earned acclaim from Metal Hammer and Brooklyn Vegan alike.

    To mark release weekend (March 13–15), Lamb Of God have partnered with more than 140 independent record stores nationwide for listening parties featuring exclusive merch, giveaways, and an indie-only “Poltergeist” vinyl variant. Pre-orders are live now, including limited vinyl editions and a collectible CD paired with a companion zine of handwritten lyrics and studio photos.

    The Into Oblivion North American tour launches March 17, with support from Kublai Khan TX, Fit for an Autopsy, and Sanguisugabogg — a lineup poised to make it one of 2026’s heaviest treks. Additional festival appearances include Wacken Open Air, Bloodstock Open Air, and Summer Breeze Open Air.

    After 25-plus years, Lamb Of God are circling back to where it all began, and hitting just as hard.


    Thanks for reading!

  • Blues Rock Weekly – 2/27/26

    Blues Rock Weekly highlights new music from Tyler Bryant, Eric Steckel, and The Sheepdogs, plus Playing With Fire announces its 2026 lineup featuring top international acts making their way to the United States.

    The post Blues Rock Weekly – 2/27/26 appeared first on Blues Rock Review.

  • When We Were Young Festival Taking 2026 Off, Teases 2027 Return

    The pop-punk, emo, and metalcore festival When We Were Young has spent the past decade catering to former Warped Tour kids with disposable income. They won’t be doing that this year.

    The post When We Were Young Festival Taking 2026 Off, Teases 2027 Return appeared first on Stereogum.

  • Zacky Vengeance (of AVENGED SEVENFOLD) Announces Solo Album and New Single “Lighthouse”

    Zacky Vengeance (of AVENGED SEVENFOLD) Announces Solo Album and New Single "Lighthouse"

    Zachary Baker has officially stepped into new territory, announcing his debut solo album Dark Horse and releasing its second single, “Lighthouse,” today. Best known to millions as Zacky Vengeance of Avenged Sevenfold, the multi-platinum guitarist is trading arena-sized distortion for something far more intimate—and far more dust-covered.

    Due out April 3, Dark Horse finds Baker pivoting hard into alt-country and outlaw Americana, a stark but deliberate evolution from his hard rock pedigree. The album follows the previously released title track, “Dark Horse,” and continues to reveal a side of the songwriter few fans have heard before.

    With “Lighthouse,” Baker leans into grit over gloss. “The beauty is in the imperfections,” he solemnly proclaims, framing the project’s ethos as one rooted in hard-earned truths rather than polished bravado. The result is a raw, unrefined collection of songs driven by a restless spirit and outlaw-country inspiration, a far cry from the metallic precision that defined his legacy band.

    Across Dark Horse, Baker blends poignant storytelling with Americana textures, carving out a lane that feels authentic rather than opportunistic. It’s not a side project chasing trends; it’s a songwriter stepping fully into his own voice, unshielded by high gain or spectacle.

    A limited-edition vinyl pressing of Dark Horse is available now in gold, pink, and black variants, alongside an exclusive handwritten and signed lyric sheet for “Lighthouse,” available through Baker’s official webstore. Fans can pre-save the album ahead of its April 3 release and stay up to date on further announcements via zacharybaker.net.

    For longtime Avenged Sevenfold devotees and alt-country traditionalists alike, Dark Horse signals a compelling second act — one built not on volume, but vulnerability.


    Thanks for reading!

  • LunarScape Unleashes “Bringer” February 28th, 2026 – @thebeast

    FOR IMMEDIATE RELEASE
    LunarScape Unleashes “Bringer” February 28th, 2026
    A Dark and Decadent Descent Into Gothic Metal Seduction
    DI Records proudly announces the arrival of “Bringer” , the brand new single from LunarScape, set for release on February 28th, 2026.
    Blending alternative metal grit with gothic allure, LunarScape crafts a sound that feels like stepping into a velvet-draped underworld where elegance and danger sit at the same table. For fans of Spiritbox , Blackbriar , and Jinjer , “Bringer” delivers groove-heavy instrumentation wrapped in sultry, commanding vocals and cinematic production.
    “Bringer” pulls listeners into a shadowed lounge atmosphere where smoky riffs coil around snapping drums and tension builds with intoxicating restraint. The track explores the unsettling space between inspiration and objectification, diving into the emotional cost of being desired for what you create rather than who you are. It is dark. It is decadent. It does not apologize.
    Rooted in gothic texture yet driven by a modern alternative metal pulse, LunarScape balances aggression and elegance with precision. Their noir-inspired storytelling pushes beyond surface-level heaviness, creating immersive soundscapes that feel both intimate and explosive.
    “Bringer” marks the opening chapter in LunarScape’s debut album cycle, with the band planning to release new material every one to two months as part of a steady full-length rollout. Old school consistency meets forward momentum. The grind is real.
    Credits

    Label: DI Records
    Mixed & Mastered by: Joshua Keeling
    Written by: Joshua Keeling & Tracy Stanfield
    Performers:
    Archai (Joshua Keeling) – Guitars
    Scarlette Infinite (Tracy Stanfield) – Bass / Vocals
    Trevor Marchman – Drums
    For press inquiries, interviews, and coverage opportunities: zach@metaldevastationradio.com
    Connect with LunarScape:
    https://linktr.ee/LunarScape
    Mark the date. February 28th. Step into the shadows and let “Bringer” pull you under.

    Connect with the band: 
    https://lunarscapeofficial.com/electronic-press-kit-epk
    Contact:  lunarscapeofficial@gmail.com 
  • Radio Legend Uncle Joe Benson Dead at 76

    "Joe was a triple threat guy whose passion could be discerned in his delivery every time he ignited the mic," ZZ Top's Billy Gibbons tells UCR. Continue reading…
  • Post Luctum – Timor Lucis Review

    Even with someone as infinitely absorbent as this sponge, things slip through the cracks sometimes. In 2019, I gave a shout to Post Luctum’s debut EP After Mourning, citing its very promising funereal pall as a welcome comrade to contemporary heavy hitters like Altars of Grief and Slow. Somehow, some way, I completely missed not one, not two, but three full-lengths from the Maryland-based solo artist in the span between then and 2026’s Timor Lucis. But it couldn’t have come at a better time, with the inclement weather demanding tunes of a dour, reposed, overcast character. The only variable left is how much Post Luctum changed in the years since my last visit.

    Aside from overall recording quality and songwriting polish—both of which have improved significantly over the course of seven years—Post Luctum are exactly as I remember, just more refined. Like a friend for whom time apart never creates a mire of awkwardness at the point of reunion, mastermind Ian Goetchius’ slow and steady despair rings with the same earnestness that made After Mourning such a striking proof of concept. At once, I feel comforted and warmed by Timor LucisSlowed melodies, chilled by its Altars of Grief-like eulogy, and heartened by post-metallic touches that evoke hints of In Mourning or Latitudes. It’s a reliable sound that should be familiar to anyone who partakes of the funeral side of the doom spectrum, and Post Luctum applies it with poise and passion.

    As the crooning cleans of “Approaching Light” give way to the lumbering march of the deadly “Shrouded by the Sea,” Timor Lucis envelops me in a kind of sorrow that pulls me into full immersion with an uncanny ease. Almost an autonomic response beyond my control, this immersion feels akin to immediacy in the context of this music, where memorability is found not so much in individual notes and compartmentalized verses, but rather in moods and moments of emotional significance. Even as songs gently coast from a desperate roar to a delicate breeze (“Sunken Fate” into “In Water”) to form notable highlights, I always recall the moment I heard it—where I was, what I felt, what visions these sonic waves summoned from my thoughts—more vividly than the music’s corporeal form. A different impression than what many artists design for their audience, this experience is its own kind of magic. Difficult to conjure and even trickier to master, Post Luctum struck the right balance of texture, timing, and feeling to invoke such magic and impose its power on my mind, revealing Timor Lucis’ greatest strength.

    Curious, then, that once the final note fades into the ether, I struggle to find that pull which brings me back into Timor Lucis’ loving, tear-soaked embrace. As I continued my tenure with this record, I wondered if the root of that struggle was familiarity. Songs like “Disavowed,” “A Curse Now A Plague,” and “I Welcome In the Cold” reminded so strongly of the core of my funeral doom rotation (Slow, Un, Woebegone Obscured) that Post Luctum inadvertently guided me directly into their clutches, and I found myself forgetting about Timor Lucis. I realize now that this is the double-edged sword of the aforementioned strength this record holds. Immersive as it undoubtedly is, and as reliable as its writing is in achieving that immersion minute-to-minute, Timor Lucis simply isn’t bold enough as a distinct entity to draw me away from those acts it resembles with which I enjoy a deeper, more established relationship.

    This dichotomy exposes one of the greatest challenges not just in reviewership, but also in songwriting from the perspective of the listener. A record is not made unworthy strictly because it is familiar, nor is my enjoyment of this material lessened by my personal history with the genre. Chances are good that I will return to Timor Lucis with a willing and eager heart over the course of the year. Equally, I acknowledge that it will never meaningfully challenge those records I deem the highest order in the style. On the other hand, you, the reader, might find this is your highest order. Regardless, Post Luctum deserves a chance to take you into its heart, and in the spirit of that truth, I offer my warm, albeit moderated, recommendation.


    Rating: Good!
    DR: 9 | Format Reviewed: 320 kb/s mp3
    Label: Meuse Music Records
    Websites: postluctum.bandcamp.com | facebook.com/postluctum
    Releases Worldwide: February 6th, 2026

    The post Post Luctum – Timor Lucis Review appeared first on Angry Metal Guy.