Central American cohort Morbid Stench, comprised of musicians spread across El Salvador and Costa Rica, will soon continue the spread of their brand of underground death/doom with the release of third album Doom Metástasis. Featuring the same lineup as when the band started in 2014, Morbid Stench have grown as musicians, matching the rotting pace of the music to the themes of the album.
Speaking to Decibel via email, they said:
“’Narcissistic God’ is the second extract from Morbid Stench’s upcoming third and conceptual album, Doom Metástasis.
“The song is about the worship of the self taken to its ultimate form. When the individual becomes his own god, the boundaries between identity, obsession, and destruction begin to disappear. It represents another stage in the spreading corruption of Doom Metástasis, where what begins internally eventually becomes impossible to contain.
“The impossibility of containing propagation is central to all six songs, which explore the loss of boundaries between the individual and the environment, life and decomposition, identity and transformation. Death is present throughout the record, but we are less interested in death as an ending than in what happens when the logic of separation itself collapses.
“The music mirrors this process through slow passages, density, cadence, and gradual shifts, while the vocals move through different registers and textures, from deep guttural tones to more necrotic, decayed-sounding expressions.
“The intention is clear, to make the listener experience the transformation rather than simply hear a narrative about it.
“By the end, the corruption is no longer something external—it has become the entire landscape.”
Hear the new song below; you can get down with the Stench on October 2 when Doom Metástasis is released via Nuclear Winter Records and Putrid Cult.
22nd August 2026 Words: Matt Noble Photos: Rich Price
The warm, fuzzy tones of Brummie witch coven Meatdripper begin the final day of music nicely on the PX3 stage. The crushing doom riffs and tasteful Iommian lead guitar work pay homage to the obvious legends from their city, but the whimsical lead vocals and general sense of psychedelic weirdness genuinely feel new and different for the genre. Moreover, the energy that they bring is wholesome and fun. With riffs and gloom cooked up straight from the cauldron, ‘Spider’ gets heads moving away to its catchy groove, and the month-old new single ‘Exterminate Her’ also goes down well. Each member owns her place in the band, with vocal harmonies (and some vicious screaming from guitarist Zowie at the end of ‘Homegrown’), a powerhouse drum performance and a fantastic stage presence all around. Their future looks bright indeed.
Din Of Celestial Birds bring their atmospheric post-rock to the Yohkai Stage shortly after lunch. At times gentle, and at other times, completely crushing, their impassioned performance even brings one of their own guitarists to tears towards the end. There is so much emotion running through each note, from sad, haunting melodies led by dreamy synths, all the way to uplifting, euphoric guitar lines, which sound gorgeous when the band use triple guitar harmonies. Din Of Celestial Birds are an instrumental act, but manage to say so much and really tell stories without words. The ‘Takeoffs & Landings’ record is only weeks old by the time they hit the stage, sounding fresh and powerful with a Baroness-like level of ‘heavy’, but delivered with their own post-rock textures. Worth checking out!
After half a decade on hiatus, Leeched’s second show back is a genuine surprise for the weekend. A deep bass note rings out, creating an uneasy industrial tension before the three bandmembers calmly walk on and take their places to deliver what could be the heaviest set of the festival. Playing through Orange amplifiers, the guitar and bass sound is apocalyptically low, while their dual vocal attack sounds positively savage. New drummer Tyler Hodges handles the oppressively slow tempos with as much confidence as he does when the band dial up to a hardcore blast or a brutal crust beat – sometimes switching from one extreme to the other at the drop of a hat for an unpredictable and even unsettling set. Leeched have plenty of groovy moments though, snapping everyone’s necks about, and the dissonant guitar layering sometimes adds some texture into Leeched’s brute force. They’ve got a lot happening to keep us all hooked. Leeched are industrial, noisy and punishingly loud. Keep an eye out for their return to live music, this set was something special.
The misanthropic noisemakers in Chat Pile gather a hell of a turnout on the main stage. Bringing a punk ethos, social commentary and Raygun Busch’s charming, nonchalant stage patter, the riffs are savage, the grooves are nasty and dissonant, and the pits are absolutely brutal. Recent single ‘PEN I S MALL’, introduced as being about Busch’s time working in a mall, gets an absolutely rabid response as the crowd feels the pure bile delivered onstage. There is something extremely direct about Chat Pile and the utter ugliness of their music that ties into the evocative, visceral lyrics. Busch gathers a scream-along of ‘Why?’ in the song of the same name, written unapologetically about resource allocation and rough sleepers. His storytelling and delivery is a little unhinged and almost scary, which helps build a set that as audience members we experience rather than just watch. We’ve got some all-timers in the making here. Their new album drops in the first week of September. You’ve been warned…
The Californian sludge/thrash legends in High On Fire close the Yohkai stage. A chance to see Matt Pike in the flesh – and indeed Matt Pike’s flesh, his iconic topless figure with a guitar in hand dominating the right hand side of the tent – is enough to fill out the second stage. A Grammy winner and relentless heavy metal lifer, he’s a guitar god in his own right. But Ben Koller, who headlined Arctangent with Converge in 2023, gives an outstanding performance on the drumkit, and Jeff Matz’s bass tone sounds absolutely huge, holding down the low end with real power. High On Fire entertain the tent and provide the soundtrack to some good old-fashioned Saturday night pints with pummelling riffs and sonic savagery. Preferring not to mess about too much between songs so High On Fire put on a memorable set for their fans, Pike gets the crowd moving and delivers his vocal snarl with charisma. ‘10,000 Years’ is ace, its iconic twisting riff going down a storm, while ‘Snakes For The Divine’ is a real treat, sounding seriously heavy out the front. Playing riffs for riff worshippers, High On Fire do not disappoint.
Closing the curtain on the main stage not just for Arctangent 2026 but also for Fernhill Farm is a rare performance of ‘Mariner’ by Cult Of Luna and Julie Christmas. It’s the kind of set you can sway about to and calmly enjoy the vibe of after several days of camping and partying in a field. But for post-metal musos, it’s a set you can boast that you were there for. ‘Mariner’ hasn’t been played since before the pandemic. And today’s performance reminds us all that it really is a great album, the troupe of musicians bleeding every drop of emotion from the songs into something real and raw for today’s performance.
The dark intensity of ‘The Wreck Of S.S. Needle’ is particularly strong, with Julie’s vocals soaring high above the sheer wall of sound Cult Of Luna bring to the slot. The massive sonic power that the band bring is awe-inspiring, with the reverb of the guitars, the shimmering keys and the pounding rhythms mixed with precision and intent out the front. ‘Cygnus’, in turn, is transcendental, building higher and higher at the song’s apex. Julie Christmas’s piercing vocal wail provides a great contrast with the brutal roar from Cult Of Luna’s Johannes Persson. You feel like you need a sit down or time to reflect when it’s all over. For an album themed on exploring outer space, you could certainly call this headline show otherworldly.
It’s a full package, too. The stage smoke creates a subtle haze over the tent, and the intense light show reduces those onstage to silhouettes. The visual effect is nothing short of mesmerising. As the final notes from ‘Mariner’ die out and the set ends, the entire tent can be seen – and heard – responding with genuine enthusiasm and appreciation for what we have all witnessed. Where else but Arctangent for a headline set like this? Where else would you fill a tent of this size for music that sounds like this? What on earth have they got up their sleeves for 2027?
A blues and rock ’n’ roll-inflected guitar solo cuts through melodic death, black and folk metal on “Upward,” the first preview of WOODEN SHADOW’s second album, Silverlake. The Finnish one-man project will release the record on November 19, 2026, through Inverse Records. “Upward” introduces its combination of emotive melodies, atmospheric passages and heavier riffing while […]
Last month, the Bangles’ Susanna Hoffs announced a new solo album titled The List. So far she’s shared “Casablanca” and “This Island,” and now she’s back with a weepy collaboration with Rufus Wainwright called “Bad Case Of Loneliness.”
FOR IMMEDIATE RELEASE
TEXAS CREEPER SIGNS WITH COMBAT RECORDS AND KICKS OFF NEW ERA AT FREE GAMMACIDE CD RELEASE SHOW
Formerly Known as Creeper, Texas Metal Outfit Enters a New Chapter With Legendary German Label
DALLAS/FORT WORTH, TX — A new chapter has officially begun for Texas metal outfit Texas Creeper , formerly known simply as Creeper , as the band announces its signing with legendary German label Combat Records .
After months of anticipation, the band has finally revealed the news that fans have been waiting for. Texas Creeper is now officially part of the Combat Records family, joining a label whose historic legacy includes early signings and releases associated with some of metal’s most influential names, including Megadeth, Suicidal Tendencies, Exodus , and many more.
But the record deal isn’t the only major change.
As part of what the band describes as “a whole new beast,” Creeper has officially rebranded as Texas Creeper , embracing its Texas roots while entering an entirely new era for the band.
“We are beyond honored and completely stoked to be a part of the Combat Records family and are looking forward to taking our music to the entire world!” the band announced.
The rebrand arrives at a pivotal moment for Texas Creeper. Following the release of their crushing full-length Crushing , the band is now preparing to take the next step in its evolution with the backing of an established international metal label.
And there is no waiting around to celebrate.
Texas Creeper is gearing up to hit the stage this Saturday night, September 5, at the Haltom Theater in Haltom City, Texas, as part of the Gammacide CD Release Show.
The event will feature an absolutely stacked Texas metal lineup with Gammacide, Texas Creeper, Diavola, Silvertongue Devil, and Arkhon .
Best of all, the show is FREE , and FREE PARKING is also available.
GAMMACIDE CD RELEASE SHOW
Haltom Theater Haltom City, Texas Saturday, September 5, 2026
Featuring: Gammacide Texas Creeper Diavola Silvertongue Devil Arkhon
FREE SHOW FREE PARKING
With a major record deal now secured, a new name and identity in place, and a hometown-area stage waiting this weekend, Texas Creeper is wasting no time launching the next phase of its career.
From Creeper to Texas Creeper , the name may be changing, but the mission remains the same: deliver heavy Texas metal and take it to as many ears around the world as possible.
The next chapter starts now.
Texas Creeper is here.
For more information, music, updates, and announcements, follow Texas Creeper on social media and visit the band’s official online channels.
Follow the band here at these links:
https://www.facebook.com/TexasCreeperOfficial https://www.instagram.com/texascreeperofficial/ https://www.youtube.com/@Creeperusa
Contact: Creepermetal@gmail.com
Finnish melodic metal band GARDEN OF STONE have released “Obsession,” the second single from their forthcoming album, For the World of the Obsolete. The group’s second full-length record will arrive on December 11, 2026, through Inverse Records. Running for more than six minutes, “Obsession” brings several sides of the band into the same composition. Groove-driven […]
Tama has a new signature snare on the market, and it belongs to Rush touring drummer Anika Nilles.
The drum took more than two years to develop, with Anika zeroing in on three priorities throughout: a deep low end, sharp snare wire definition, and an aesthetic pulled from her love of vintage snares. What came out the other end is a 14×6.5″ 1.2mm Seamless Aluminum shell built for warmth, projection and low-end punch. A slightly wider bearing edge and four grooves cut into the center of the shell aren’t just cosmetic touches, they also add rigidity and help the shell resonate more naturally.
Paired with Sound Arc Hoops, the snare balances clarity with presence, and a newly designed “Mod-Tone Muffler” lets players flip the mute on or off instantly and dial in exact pressure with a single control.
Features:
Anika Nilles signature snare designed for depth, clarity and expression
1.2 mm aluminum shell delivers warmth, projection and articulation
14×6.5″ size produces a powerful, resonant low-end voice
Four shell grooves increase rigidity while preserving resonance
Mod-Tone Muffler enables instant damping adjustment and control
2.3 mm Sound Arc hoops enhance attack, clarity and projection
Nilles has built her reputation on a rhythmic style that doesn’t sound like anyone else’s, earning recognition through her own compositions, her educational work, and collaborations with some of music’s biggest names, including the late Jeff Beck. In 2026, she stepped into arguably the most scrutinized drum chair in rock: touring drummer for Rush‘s “Fifty Something” tour.
Rush is currently playing shows across Canada, the United States and Mexico, with each stop billed as an “evening with” format built around two sets a night. The band draws from a rotating pool of roughly 40 songs spanning its greatest hits and deeper cuts, so no two nights look quite the same.
The tour’s initial 2026 dates, announced by Lee and Lifeson in early October 2025, sold out almost immediately. The band has since extended the run twice to keep up with demand.
Nilles, who has built an audience of more than 280,000 subscribers on YouTube, previously toured with Jeff Beck in 2022. Lee was already a fan by 2023, telling The Guardian at the time that she’d played on Jeff Beck‘s last tour and that he thought she was terrific. Her Instagram, largely filled with drumming footage, has since grown to more than 600,000 followers.
