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But wait, there’s more.

The post Tomahawk Appear To Be Set For A Return appeared first on Theprp.com.

Florida-based death-thrash outfit Intoxicated will be releasing their next studio album The Dome on March 27 via Redefining Darkness. With that only being a few weeks away, they dropped yet another single on ya, this time in the form of the track “Carved in Stone.”

Speaking of the track itself, Intoxicated vocalist/guitarist Erik Payne said it should be seen as a major “fuck you” to the people in power.

“‘Carved in Stone’ is written for the sickening ‘elites;’ The ones that have gone unchecked and how they should be petrified of their demise.”

The Dome will be released on March 27 via Redefining Darkness, but you can preorder your copy today. If you’d rather support the band directly, you should absolutely check them out as they tour in support of Obituary and Castrator. You can find the dates for that run below.

The Dome tracklist

01. Carved In Stone
02. Sever The Strings
03. The Dome
04. War Club
05. Tighten Your Eyes
06. Unescaped
07. It’s Dead
08. Shifted Cross
09. Rake The Grate
10. Drowning The Weak

INTOXICATED Tour Dates (supporting OBITUARY w/ CASTRATOR):

03/19 Gainesville, FL @ The Wooly (No Castrator)
03/20 Birmingham, AL @ The Canteen
03/21 Pelham, TN @ The Caverns (w/ Acid Bath)
03/22 Memphis, TN @ 1884 Lounge
03/24 Oklahoma City, OK @ 89th Street
03/25 Columbia, MO @ The Blue Note
03/27 Denton, TX @ Rubber Gloves
03/28 Houston, TX @ White Oak Music Hall (w/ Acid Bath & High on Fire)
03/29 New Orleans, LA @ Tipitina’s

The post Intoxicated Uncork Their Latest Brutal Single “Carved in Stone” appeared first on MetalSucks.

Florida-based death-thrash outfit Intoxicated will be releasing their next studio album The Dome on March 27 via Redefining Darkness. With that only being a few weeks away, they dropped yet another single on ya, this time in the form of the track “Carved in Stone.”

Speaking of the track itself, Intoxicated vocalist/guitarist Erik Payne said it should be seen as a major “fuck you” to the people in power.

“‘Carved in Stone’ is written for the sickening ‘elites;’ The ones that have gone unchecked and how they should be petrified of their demise.”

The Dome will be released on March 27 via Redefining Darkness, but you can preorder your copy today. If you’d rather support the band directly, you should absolutely check them out as they tour in support of Obituary and Castrator. You can find the dates for that run below.

The Dome tracklist

01. Carved In Stone
02. Sever The Strings
03. The Dome
04. War Club
05. Tighten Your Eyes
06. Unescaped
07. It’s Dead
08. Shifted Cross
09. Rake The Grate
10. Drowning The Weak

INTOXICATED Tour Dates (supporting OBITUARY w/ CASTRATOR):

03/19 Gainesville, FL @ The Wooly (No Castrator)
03/20 Birmingham, AL @ The Canteen
03/21 Pelham, TN @ The Caverns (w/ Acid Bath)
03/22 Memphis, TN @ 1884 Lounge
03/24 Oklahoma City, OK @ 89th Street
03/25 Columbia, MO @ The Blue Note
03/27 Denton, TX @ Rubber Gloves
03/28 Houston, TX @ White Oak Music Hall (w/ Acid Bath & High on Fire)
03/29 New Orleans, LA @ Tipitina’s

The post Intoxicated Uncork Their Latest Brutal Single “Carved in Stone” appeared first on MetalSucks.

Jehnny Beth, Reclus.É and A.A. Williams will be opening select shows.

The post A Perfect Circle Confirm Openers For Their First European/UK Tour Since 2018 appeared first on Theprp.com.

Last year, Louisville rockers White Reaper returned with Only Slightly Empty, their first album since their rhythm section left the band. Next month, they’ll head out on a co-headlining tour with Drug Church, with Spy, Death Lens, and Public Opinion on board as openers. That’s a great bill! I’m looking forward to it, mostly because…

The post White Reaper – “Need” appeared first on Stereogum.

Claypool has penned a psychedelic look back at the band’s early days.

The post Primus’ Les Claypool Announces ‘Frizzle Fry: Phantoms Of Barrington Hall’ Graphic Novel appeared first on Theprp.com.

Spineshank are hitting the road this April for the Nü-Metal Sucks Tour, marking the final leg of their Height Of Callousness 25th Anniversary Tour.

The post SPINESHANK, HED PE & PRIMER 55 Announce Nü-Metal Sucks Tour appeared first on Metal Injection.

Dirty snow is the fucking worst. Get that shit out of here. Snow falls, and it’s beautiful and pristine and magical for three, maybe four hours. Then it all gets shoved into piles and exhaust-blackened, and it gets ugly fast. It’s been about a month since a giant fucking ice storm pulverized the East Coast,…

The post John Andrews & The Yawns – “Goodbye Dirty Snow” appeared first on Stereogum.

If this EP is any indication, U2 aren’t done striking matches. Here’s our track-by-track review of the new EP from Bono and U2.

The post U2 EP, ‘Days of Ash’ — Track-By-Track Review of All 6 Songs appeared first on Audio Ink Radio.

The Silver are returning with their sophomore record, Looking Glass Hymnal Blue, one of the final releases for the storied Gilead Media label. The Philadelphia group boasts members from Horrendous, Crypt Sermon, and Daeva, yet plays a more emotional and expansive version of extreme metal compared to their main bands. They also fully embrace the artistic element on stage as well as what is conveyed on record to create what they have referred to as their “immersive world.”

I interviewed vocalists Nick Duchemin and MJ Knox about their respective roles in the band, the period between albums, and their objectives for the present and the future of The Silver. They’re also debuting the music video for the wonderful “When The Moon Is Three” ahead of Looking Glass Hymnal Blue’s release on March 20^th on Gilead Media.

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Was there any intentionality going from a red album to a blue album?

Nick Duchemin: Conceptually, on the first record, a lot of the material and songs were written about external strife or just things that happened to individuals in the band. I don’t know if there was an intentional option to choose red, but it became the red theme. This time around, the material became a little more introspective, and I think we drifted towards the color being blue. This was intentional, whereas the redness from the first album just happened. 

Maybe the red from the last record was part of the title Ward of Roses?

ND: The title for this record was floating around as a potential name for a very long time even before we talked to Paul (Romano) about it. I guess blue was tied inherently to the sessions for this record. 

MJ Knox: I do wonder if, since it was called Ward of Roses, it would just have a red motif. But even with that, we didn’t necessarily know that Paul was going to paint roses for that record. It kind of just happened when we received the artwork, since we didn’t know what he planned on painting. 

Since the two of you are both ends of the vocal dichotomy, it’s interesting to me how you are able to do what you do but still make it feel like this is a The Silver record, in that it doesn’t really sound like anything else.

ND: I think that’s accurate. The first album we came together and did what we did as far as experimentation. This time around, we knew what our working means were and tried to push that envelope a little bit, building on the first album, understanding that they are the same band, however a little bit bigger and bolder.

Since you knew each other but hadn’t really played in a band together before The Silver, could it be that there wasn’t a plan to be decidedly different than your other bands, but to do something different together, and if you’ve already done that, you can take the training wheels off and make a more cohesive plan? 

MK: I’d say so for sure. For example, my vocals on the last record weren’t even written until the music was already done and I kind of just filled in space. This time, we were building it in from the start, including some three-part vocal harmonies in spots; we just wanted to see what we could do with that and it bled into other parts of the album, including the songwriting and with everything being a bit bigger and expansive.

It’s fantastic that you were able to continue down that path of experimentation. That doesn’t mean that there wasn’t intentionality, but instead you were able to balance the old with the new. 

MK: A friend of mine has heard the new album already and he said that aside from a few parts, Looking Glass Hymnal Blue is very difficult to compare to other bands, which feels like high praise and what we were after. We have been fighting for a voice, and not that the first one didn’t have it, but on the new one, we really settled into a voice that’s distinct this time around.

People like to throw around genre labels as is their opinion. However some records can be independent of a genre. I had a hard time classifying Looking Glass Hymnal Blue as a particular one, even though the label of post-black metal has been floating around. I personally don’t think that matters at all. So, your friend has a point about the difficulty of classification. 

MK: I agree. I am proud of that in a lot of ways, this happens with one of my other bands, Horrendous, sometimes too, even if that band is generally a lot easier to categorize. I think that there is a risk of making it so easy. Maybe I’m just talking shit, but in the metal climate, people are really looking for something that fits in a nostalgic way or that fits a mold, so I’m interested to see how it all plays out. 

The older I get, the more I develop this theory that is likely completely false: their brain is hearing what they want to hear, and the other parts are just flying by. You are missing a lot of what is going on because you latch onto the familiar.

I think it’s a matter of you can’t “hear” a record once. You find the familiar and miss the idiosyncrasies that you put in there on purpose, but the listener might not hear it until a few listens in, if they hear it at all. If not, then maybe this isn’t the record for you. 

MK: That’s another point of pride for me. I have heard it a million times at this point, and it still challenges me. I get towards the end and I’m like, “The record has won again.”

Defeated by your own creation, like Frankenstein’s monster. 

MK: Exactly

It’s been nearly 5 years since the last record. What has that time period been like?

ND: It has been challenging, and a lot of the time has been spent on writing and recording the album sporadically over the years. In terms of the live act, the shows we played in support of the first record helped us to hone some comfort in playing with each other and expand what we could do in the studio and when playing live. A lot of it was spent on getting this album finished.MK: The sad part about it is every single person who is a part of this record somehow took an incredible amount of time to finish what they were doing, from the recording to the artwork and the mixing. The studio started two or three summers ago and, due to various different perfect storms, it just kept getting delayed. It’s been a pretty painful time, actually, between the two.

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What was the recording process like for this record? MJ, I see your Horrendous bandmate Damian Herring helped to master the record. I heard a story from back on the Ecdysis album that you guys would be recording in Damian’s bedroom and always thought that it was great. What were things like this time around?

MK: The sad thing is, we were never really in a room with Damian because we recorded with this guy in Philly, though my brother (Jamie) and I went down to see him in Germantown, Maryland to go through things, most of it was pretty hands-off. Horrendous still pretty much does it the same way. The space is different, but the spirit is still there.

What’s different about recording with The Silver versus any other bands you have worked with?

MK: Recording isn’t all that different than what it was with Crypt Sermon, because it was with someone else. I’m so used to recording with Damian that anybody else brings a learning curve. Horrendous will always have that feeling because you are hanging out with your friends but also recording. There is a more official and formal air about The Silver sessions. We did the Crypt Sermon record with Arthur Rizk and I don’t write much for that band, so I was sitting in a room and everybody was watching me play bass. It felt like an audition.

Your bandmates in Crypt Sermon told me that you blew through bass sessions for the last CS record.

MK: Correct, I think I did everything over the course of four hours. It was ridiculous. Everybody told me, “That was great.” Everything about that record was great because it came together in 10 days as opposed to this one, which took over two years. Due to scheduling conflicts, we did nights, afternoons, and weekends to get it done, and ultimately, next time we want to be more prepared.

This album makes clear that this is not a one-and-done band. It can hopefully springboard the band towards a third record when that time comes. 

MK: Oh yeah, for sure. The songs on this album were written five years ago, and I have the desire to start writing more material. When Alex (Kulick) joined the band for this record, most of the music was already written. I know they have a lot of ideas and, in a way, this band makes more sense for them writing things here because Alex’s work already makes me excited.

I remember when I saw Horrendous playing Idol at Saint Vitus back in 2018 and your set opened with Alex playing a guitar on a stand solo. If that’s the level of creativity that they are capable of for that band, I can only imagine what it would like with The Silver.

MK: It’s going to be great. I’m already excited about it.

What’s the story behind the new logo?

ND: Paul Romano did it as part of the art package. He had the idea since it was a looking glass to make it a mirrored version of the band’s name. It wasn’t any of our ideas, that was all him. We talked about themes and different ideas going into the record and maybe he heard an early version of the album done at the studio. These conversations started in 2023, but that all came from his creativity. 

Another thing that excites me with this band is that he is more involved than anybody else on the art and aesthetic side of things. At this point, he feels more like an art director instead of just an artist. He and his wife have even thought about our stage show and costuming. So it’s very much a passion project for him, far beyond the artwork. He’s more like a co-creator in the world that we’re building. I remember first meeting him and he was already a legend. To go from that to this close, intricate, tightly-wound birthing, he has had a hugely active role in the band and will continue to do so. We are all really excited to have him around and it helps when we already have an eye towards the visual element of the live show. A lot of that is from his direction.

How does it feel to be releasing one of the last albums through Gilead Media?

MK: I think it is special to be part of the swan song. I have met Adam before and really enjoyed the time we spent together, especially now that we are helping to usher in the end.

ND: Labels aren’t maybe as storied as they have been in the past, but Gilead is a name that has been around for a while and has garnered a lot of respect. It has been an honor to be a part of. 

MK: I think being on a label that has been known to have more experimental bands helps us to be a part of that legacy and it serves as a jumping off point for where we go next.

Is there anything else you wanted to cover?

ND: This album is the birth of a fully immersive The Silver world. Incorporating elements like colors or the album art itself, it is something we have touched on internally. Maybe there is an element of costumes or something that no one has seen from us, especially in a live setting. It shouldn’t be overlooked as part of this album release process and experience. 

MK: I like that point because it intersected with my mind with the music video premiering this week. There is a desire from within the band to carry this as far as we can. For me, it feels like everything is in place for that. My other bands are also very professional and have legacies, but this band, The Silver, it has a lot more going on in terms of the world we are building. I have loved this experience of considering this music from all other angles; something that we don’t have with the other bands. 

This immersive world seems like it goes beyond the stage, what’s being recorded, and the artwork. It draws from all areas to create this collective whole. That’s cool.

MK: That’s what a lot of people have been looking for; they want a world to live within. It’s almost like explaining it to somebody to help them see this world that lives within our minds.

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Looking Glass Hymnal Blues releases March 20 via Gilead Media.