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Engineer Records is delighted to announce that THRONK! are joining their roster. They also have a bunch of great gigs lined up, and will be rocking Rebellion Festival and Bristol Punx Picnic this year, and are always looking for more parties they can crash. The label plans to release a digipak CD EP entitled ‘Kick […]

Engineer Records is delighted to announce that THRONK! are joining their roster. They also have a bunch of great gigs lined up, and will be rocking Rebellion Festival and Bristol Punx Picnic this year, and are always looking for more parties they can crash. The label plans to release a digipak CD EP entitled ‘Kick […]

Posted on March 2nd 2026, 11:01a.m.

[Cover art by Travis Smith]

Personally, I enjoy it when a band opens an album by kicking in your door and lighting your home on fire. Detroit doesn’t have a Devil’s Night reputation for nothing after all. The Murder Mitten’s Temple Of Void launches album number five, The Crawl, with nearly 30 seconds of eastern-melody-inflected guitar leads on “Poison Icon.” In fact, roughly a third of the song’s runtime ends up being filled with equally fiery leads. Does the rest of the album throw six more barrels of gasoline onto the blaze to create a towering inferno? No, but they wouldn’t be a very good death-doom band if they didn’t show off that slow, simmering coals can be just as potent as the 20-foot bonfire that accompanies every Midwestern high schooler’s barnyard party. Even “Poison Icon” doesn’t plant its foot on the gas pedal the whole time, as glimmers of Isis post-metal and a few gothic touches help to announce that these lads plan to sit firmly in the jam room for this one.

2022’s Summoning The Slayer was when Temple Of Void really announced its intention to expand its sound; The Crawl picked up that mantle and ran with it. They still give the ardent fans of their more pure debut plenty to chew on with straightforward tracks like “The Crawl” and bruising, trudging closer “The Twin Stranger,” but the majority of the album fuses plenty of non-metal influences into this deathly poutpourri. In particular, post-punk and simpler hard rock concepts have taken a greater hold on the songwriting. “Godless Cynic” opens with a drum and bass passage that was clearly inspired by The Cure, but a good chunk of the song is ridden over by an air-raid style of noisy guitar while the other guitar jams, runs, and hunts underneath it. The core riffs in the song, however, are often quite simple and could easily be what you’d expect from a hard rock band, but they’re buttressed by heavier elements and gnarlier guitar parts, making it less apparent that the band is looking for simpler hooks. Overall, the simplicity of the riffs is often belied by extra flourishes of notes or transitions that make sure you don’t focus on them for too long. The title track has a stretch with a very basic riff, but it always ends with a few extra, varying guitar notes that help it to feel like it’s working toward something.

Hell, “A Dead Issue” brings in synths and this big bruiser of a dummy riff that if you stripped out the vocals, I’d believe you if you told me Zakk Wylde wrote it 20 years ago for Ozzy on Black Rain. Not content to make it that easy, however, Temple Of Void spends the second half of the song flying into space and letting the guitar simply meander, clamber and explore as if the band had recently binged Colors. The combination of that song and “Thy Mountain Eternal” that follows exemplifies what The Crawl really is: a band seemingly bored with their roots and wanting to open up the conceptual coloring book to work outside the lines. “Thy Mountain Eternal” spends nearly seven minutes jamming out and simply letting the song go to find new corners. The entire second half feels like the listener is simply following the guitars on their own journey to an end neither of us knows.

One of the biggest shifts for The Crawl was bringing the band down to four members by having vocalist Mike Erdody take on second-guitar duties. While I can’t say whether or not that shift influenced the uptick and quality of the leads or the band’s interest in jamming out, as those could have been a natural progression, I do think it helped further cement one of Erdody’s underrated skills – knowing when to let the other instruments do the talking. That second half of “Thy Mountain Eternal” is all the more impactful and enjoyable because the guitars are given space to breathe and explore. Erdody’s vocals continue to be monstrously deep yet surprisingly clear, and they’re made all the better by being implemented well and kept out of the way during key stretches. A lot of vocalists don’t know when to shut the hell up, but Erdody is not one of them.

There are a couple of minor issues that negatively impact the record. The aforementioned noise focus during “Godless Cynic” does overwhelm the song a bit and neuter some of the killer guitar work. Additionally, “Soulburn” would’ve been a much stronger closer than “The Twin Stranger.” The former fuses a gothic, post-punk synth, bass, and drum combo with hard-rocking riffs befitting a big arena performance before getting to a slower, repeated riff to close. That closing section feels very open and like something the band would close a live set with in order to give each player one more shot to improvise and take the spotlight for a few seconds. In fact, I wish they flipped the order of the last two tracks, snipped the boring one-minute sound effect outro of “The Twin Stranger,” gave the time to the end of “Soulburn” to do exactly that, and let the band members close the album on a more raucous, powerful note.

Ultimately, if the new influences appearing on Summoning The Slayer turned you off of Temple Of Void, The Crawl sure as hell isn’t bringing you back. If, however, you’re down to let your death doom have a whole lot of other ideas, you’ll likely find yourself having a good time with this one.

The post Temple Of Void – The Crawl Review appeared first on Last Rites.

As a young gun on the jazz scene, DeWayne ‘Blackbyrd’ McKnight worked with giants, such as Charles Lloyd, Herbie Hancock, Alphonso Johnson, and Sonny Rollins. If that were the end of the story, McKnight’s legacy would be cemented… but it’s not. By the mid ‘70s, McKnight dreamed of merging genres, which he did with George Clinton’s P-Funk ensemble. He’s stuck since, playing beside everyone from Michael Hampton to Eddie Hazel to Bootsy Collins, and more. As for what it was like integrating into the wild and crazy P-Funk machine at the height of its zanier-than-zany powers, McKnight says that it

The post An Interview With DeWayne “Blackbyrd” McKnight appeared first on ClassicRockHistory.com.

If you have been keeping a close eye on the UK DIY scene lately, you know that Leeds is currently a pressure cooker of incredible talent. It’s a city that has always understood the assignment when it comes to blending spirit with intelligence, and the DAVES is the latest group to emerge from that northern […]

If you have been keeping a close eye on the UK DIY scene lately, you know that Leeds is currently a pressure cooker of incredible talent. It’s a city that has always understood the assignment when it comes to blending spirit with intelligence, and the DAVES is the latest group to emerge from that northern […]

Soundproofing refers to construction methods that block noise from entering or leaving a space. 

The goal involves stopping sound transmission through walls, ceilings, floors, doors, and windows, not simply reducing echo inside a room. Many products, such as foam panels and heavy curtains, are marketed as soundproofing solutions. 

Confusion often arises between sound absorption and sound isolation. Absorption controls reflections within a room. Isolation controls how much sound escapes or enters. 

Home studio owners must focus on isolation when concern involves neighbors or household members hearing music, vocals, or instruments.

Proper design based on how sound travels prevents costly fixes later. 

Careful planning avoids wasted money on materials that look effective but fail to stop sound transmission.

Planning Your Studio Space

Proper planning determines how much construction will be required. Room location, existing structure, and layout all influence isolation performance and cost.

For larger structural modifications or complete studio builds, consider hiring professional remodeling services to ensure the work is done correctly the first time.

Room Selection

Room choice affects isolation potential more than any single material upgrade. Interior spaces with fewer shared walls reduce noise paths. 

Basement rooms often offer advantages due to concrete foundation walls and surrounding soil that add natural mass.

Rooms that share framing or walls with neighbors require more intensive decoupling and added mass. 

Selecting a space with minimal shared structure reduces overall construction demands and cost.

Assess Existing Noise Paths

Detailed inspection identifies weak spots before construction begins. Sound often escapes through small and overlooked areas rather than large wall surfaces.

Areas that require careful evaluation include:

• Hollow-core doors
• Single-pane windows
• Electrical boxes mounted back-to-back
• Open ceiling cavities
• HVAC ductwork connected to other rooms

Continuous framing between rooms allows vibration to travel easily. 

Shared ceiling joists, common studs, or rigid floor connections may require additional decoupling measures. Identifying these structural links early prevents costly corrections later.

Expect Some Spatial Trade-Off

Soundproofing requires space because mass and decoupling add thickness to walls and ceilings. Even efficient clip and channel systems add approximately 2 7/8 inches to each treated wall.

Ceiling isolation systems reduce headroom. Floating floors raise the finished floor height. Planning must account for reduced dimensions so equipment placement and acoustic treatment remain practical.

Completely eliminating space loss is unrealistic. Accepting moderate dimensional reduction ensures effective isolation and predictable results.

Soundproofing the Walls

Walls represent large surface areas where sound transmission occurs. Effective wall assemblies combine density, separation, and airtight sealing.

Add Structural Mass

Walls require additional density to block sound effectively. Installing two layers of drywall increases mass significantly compared to a single layer. 

Heavier assemblies resist vibration and reduce airborne transmission.

Improved wall performance often includes:

• Two layers of drywall on the isolated side
• Staggered seams between drywall layers
• Insulation inside wall cavities
• Tight fastening patterns to prevent rattling

Insulation inside the cavity does not block sound by itself but reduces resonance within the wall assembly. Combined with added drywall layers, insulation improves overall performance. Heavier wall systems outperform thin residential partitions commonly found in homes.

Decoupling Systems

Decoupling reduces vibration transfer through studs. Clip and channel systems such as Genie Clips with furring channels, mount drywall on isolated hardware rather than directly on framing.

System maintains a relatively compact profile of about 2 7/8 inches while achieving around STC 55 when properly installed. 

STC 55 generally suits home music studios, reducing normal speech and moderate music transmission significantly.

Performance depends on correct installation. Short-circuiting the system by screwing drywall directly into studs defeats isolation. 

Careful adherence to installation requirements ensures consistent results.

Seal All Gaps and Edges

Airtight construction completes the wall system. Perimeter joints, seams, and penetrations must be sealed with acoustical sealant to prevent sound leaks.

Effective sealing includes:

• Continuous sealant at the floor and ceiling junctions
• Sealing around outlet boxes and switches
• Treating drywall seams before finishing
• Closing gaps at intersecting walls

Backer boxes around outlets reduce weak spots in otherwise dense walls. Continuous airtight construction ensures the wall assembly performs as designed.

Doors and Doorways

Door assemblies often determine overall isolation performance. Even well-built walls fail if doors leak sound.

Solid Core Doors

Hollow interior doors contain little mass and allow sound to pass easily. Replacing them with solid-core doors increases density and improves isolation immediately.

Heavier doors vibrate less and block more airborne sound. Proper fit inside the frame prevents side gaps that reduce performance.

Airtight Seals

Doors frequently act as primary leakage points. Gaps around edges allow airborne sound to escape even when the door itself is heavy.

Effective sealing methods include:

• High-quality weather stripping along the sides and top
• Automatic door bottoms or door sweeps
• Tight-fitting thresholds

Tight sealing transforms a door into a more reliable sound barrier. Even a small gap at the bottom can significantly reduce isolation.

Consider Double Barrier Systems

Additional door layers further improve performance. Installing a second door with an air gap creates a small sound lock that increases isolation.

Double barrier systems significantly reduce transmission compared to a single door. Proper seals at both doors and careful alignment ensure the system performs consistently.

Fundamental Principles of Soundproofing

Effective soundproofing depends on physical construction principles, not surface treatments. 

Reliable isolation happens when the structure resists vibration, blocks air movement, and limits the mechanical connection between assemblies. 

Three core elements determine performance: mass, airtightness, and decoupling.

Mass

Mass blocks sound energy by resisting vibration. Heavy, dense materials require more energy to move, which reduces airborne sound transmission through walls, ceilings, and floors. 

Increasing density remains one of the most predictable ways to improve isolation in residential studios.

Common high-mass materials include:

• Multiple layers of drywall
• Cement board
• Plywood combined with drywall
• Concrete or masonry surfaces

Adding two layers of drywall instead of one significantly improves resistance to vibration. Staggered seams between layers reduce direct air paths and improve consistency. 

Heavier assemblies perform better at controlling mid and high frequencies, which include vocals, guitars, and general music playback.

Low-frequency energy, such as bass and kick drums requires even more mass to control. 

Thin single-layer partitions vibrate easily and pass sound into adjacent spaces. Dense construction remains a reliable solution because it physically limits how easily surfaces can move.

Air Tightness

Air carries sound. Even small openings allow noise to leak through an otherwise solid wall. Sound follows the path of least resistance, so gaps defeat expensive construction if left untreated.

Common leakage points include:

• Electrical outlets and switch boxes
• Recessed lighting fixtures
• HVAC vents and duct penetrations
• Gaps at wall and ceiling junctions
• Door frames and window perimeters

Complete sealing is essential. Acoustical sealant around perimeter joints, drywall seams, and penetrations prevents airborne leakage. 

Backer boxes around outlets reduce weak spots. Weather stripping and tight seals at doors and windows close major gaps.

Small openings can reduce wall performance far more than expected. Airtight construction ensures mass and decoupling work effectively.

Decoupling

Vibration transfers through framing members such as studs and joists. 

Direct contact between drywall and structural framing allows sound energy to travel into adjacent rooms. Decoupling separates surfaces so vibration cannot move freely through the structure.

Mechanical isolation is especially important for low-frequency sound, which travels efficiently through solid materials. 

Bass energy can move through framing even when walls are heavy and well-sealed.

Clip and channel systems create separation between drywall and studs. Resilient mounting hardware limits rigid contact and reduces vibration transfer. 

Genie Clips combined with furring channels provide isolation while maintaining a relatively compact wall thickness of about 2 7/8 inches.

Without decoupling, the added drywall still connects directly to the framing and transfers vibration into the surrounding structure. 

Summary

Effective sound isolation requires mass, airtight construction, and decoupling working together. Structural modifications outperform surface treatments such as foam panels or curtains when goal involves stopping sound transmission.

Careful sealing, dense materials, and mechanical separation form the foundation of a successful home studio build.

Construction decisions should focus on proven isolation principles rather than products that appear soundproof but lack performance.

The 1975 have received a very special accolade from the MPG (Music Producers Guild), which celebrates the formidable and influential legacy they have carved out in UK music.

The band have been given one of the MPG’s highest honours, the Outstanding Contribution to UK Music Award. They join previous winners Norman Cook (Fatboy Slim), FKA Twigs, Susan Rogers, Joan Armatrading, Fraser T Smith, Hugh Padgham, Youth, Paul Epworth and George Martin.

The band have released five albums so far throughout their career, most recently 2024’s ‘Being Funny In A Foreign Language’, and in that time redefined what it means to be a band in the modern day. Multifaceted, daring, emotionally dense, wonderfully poetic and crafting songs that sound like nobody else but them, there’s is an incredible body of work that has propelled them towards festival headline slots and global acclaim. Their fingerprints, specifically those of vocalist Matty Healy and drummer George Daniel, can be felt in so much of what rock and pop music is right now, and there are few bands this century who can honestly say that. It’s what makes this award so very much deserved.

Emma Townsend, Executive Director of The MPG, had this to say about the accolade,“The 1975 have fundamentally reshaped the relationship between artist and producer in modern music. George Daniel and Matty Healy have approached production not simply as a technical process, but as a core creative discipline, developing a sonic identity that is unmistakable, ambitious and deeply influential. Their work as a band alongside Adam and Ross has inspired a new generation of artists, music makers, producers to think beyond genre conventions and embrace production as an art form in its own right. It is a privilege to recognise their outstanding contribution to UK music and amazing catalogue of work up until this point as we get ready for their next chapter.”

Whilst Peter Leathem OBE, CEO of PPL, who are sponsoring the awards had added: “We are delighted to honour The 1975 with the ‘Outstanding Contribution to UK Music’ Award at the MPG Awards 2026. The 1975 have shaped the distinctive sound of a generation, with an innovative blend of music that brings together indie rock, pop and electronic in a unique and captivating way. The raw honesty of their craft has resonated with fans across the world, and as performers, they are awe-inspiring. The 1975 are truly deserving winners, and we are proud to celebrate their exceptional contributions to music.”

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The announcement comes ahead of the full MPG Awards ceremony, which will be taking place on April 16 at The Troxy in London.

The post The 1975 Recipents Of Outstanding Contribution to UK Music Award appeared first on Rock Sound.

The Hu will make a full headline tour across the UK and Europe in September and October 2026, with SKÁLD as special guests. In addition, The HU will join Iron Maiden at Knebworth House on 11 July 2026 along with The Darkness, Airbourne, and The Almighty.

“What is up our UK and Europe fans?” The Hu asks. “It has been a while since we came to you. Our new setlist is full of hope and energy, and as usual, in The Hu fashion, we will have a brand new performance with fiery attitude.”

The band will bring their unique soundscape and entrancingly majestic performance across iconic stages throughout the UK and Europe.

Beginning in the Scottish capital in September, the tour will see the band perform all the way to November across 23 cities and nine countries, including London, Berlin, Paris, Brussels and Warsaw.

“Come to our long-awaited shows,” the band says, “and let’s have some fun together!”

Before heading to the UK and Europe for the headline tour, The HU will co-headline an extensive tour with Apocalyptica from 12 May to 7 June.

The band will also be part of the Rob Zombie and Marilyn Manson Freaks On Parade U.S. tour, along with Orgy, which kicks off on 20 August in West Palm Beach, FL. For a full list of dates and tickets, visit the band’s website here.

The post The HU Bring Warrior Chant Tour to UK This September first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.