Blog

Japanese power metal quintet Lovebites are setting sail for new horizons by signing with Austrian metal label Napalm Records! In this new partnership, they are sharing their new album, "Outstanding Power," effective immediately—at least digitally. Physical formats of their fifth album will be released on May 8, 2026. Founded in 2016, Lovebites r… Read More/Discuss on Metal Underground.com

Lifting weights at the gym — that’s a topic that’s not my business. Not interested in it, quite frankly. Yet Chicago’s Stuck have managed to turn it into the poetic subject of “Deadlift,” their phenomenal new single from their forthcoming record Optimizer. “I have become somewhat of a gym rat over the last several years,”…

The post Stuck – “Deadlift” appeared first on Stereogum.

Long live the new flesh!

It is sometimes stipulated that concise songwriting and progressive stylings are opposites, but whoever proposed such a dichotomy likely never encountered the handiwork of British melodic death/thrash stalwarts Sylosis.

Formed right at the turn of the millennium by the then 15 year old guitarist/vocalist Josh Middleton and ushering in their earliest studio material during the latter half of the 2000s when metalcore was beginning to rival the Gothenburg melodic death metal craze in terms of cultural relevance, this was a fold that could easily have glommed onto the mainstream sensibilities of the former yet opted for a less travelled road.

Drawing heavily from the extreme and technically charged well that typifies the likes of Revocation and Bloodshot Dawn while maintaining a streamlined songwriting approach in line with the thrash and groove-oriented adherents of melodic death metal such as The Crown and The Haunted, the resulting sound shares a few peripheral commonalities with the 2000s metalcore rage, but is ultimately a far more dangerous beast.

Being no strangers to revamping their arrangement in light of a continual revolving door of lineup changes, Sylosis enters 2026 with a couple of shifts in personnel, yet comes out with the same pummeling blend of raw sonic fury and virtuosic intrigue with their latest studio entry The New Flesh. The exit of long-time guitarist Alex Bailey following the release of the 2024 EP The Path has seen bassist Conor Marshall taking up the six-string alongside Middleton to make room for newly recruited bassist Ben Thomas of the South Wales-based melodic death metal band Venom Prison.

Needless to say, Thomas fits the mold like a glove and proves a key element alongside drummer Ali Richardson in constructing a truly massive bottom end to what can be described as a colossal display of heaviness. Likewise, the battering riff assault that is laid down by Middleton and Marshall sees this outfit’s sound plunge further into the harrowing depths of thrashing death metal extremeness, often rivaling the brutality of bands more readily associated with the old school side of the coin.

Right out of the gate, Middleton and company come out swinging with some of the most intense yet elaborate material they’ve ever churned out. The ambient exposition turned well-rounded blend of bone-crushing thrash and earth-shattering groove metal that is the opener “Beneath The Surface” pulls zero punches in the aggression department, seamlessly shifting between blinding speed and pummeling mid-paced fare as Josh throws down a brilliant blend of Gothenburg-inspired rasp and hardcore-infused grit.

The generally groovy and measured anthems “Erased” and “Mirror Mirror” veer a tad closer to Lamb Of God territory with a more rhythmically nuanced approach as Middleton takes occasions to throw in a few clean-sung hooks amid the post-hardcore and groove metal carnage in the former, while atmospheric keyboards adorn much of the latter. Several other entries in this 11-chapter sonic slaughter session opt for a similarly merciless yet multifaceted approach, such as the almost ambient turned groove-thrashing epics “Adorn My Throne” and “Lacerations”, both of which blur the lines between Sylosis’ signature mode of brutality with the more dreamy quality of Finnish melodic death staples like Mors Principium Est and Omnium Gatherum.

For every time that this outfit opts to combine almost disparate elements into a singular anthem, they also allot for a more straight-up expression of either a consistently impact-based approach or a full-on foray into lighter territory. In terms of ruining the neck alignment of anyone within earshot, the explosive thrasher “All Glory, No Valor” and the meaty groove-thrashing crusher “Circle Of Swords” take the aggression factor to its logical conclusion and feature some of Josh’s most inhuman vocalizations ever committed to recording.

“Spared From The Guillotine” pushes the envelope so far that the line that divides The Crown from Suffocation practically vanishes for its 4-minute duration in a sea of dissonant riffing and machine gun drumming. The acoustic ballad “Everywhere At One” basically throws the whole arrangement for a loop and lands almost perfectly into 2000s metalcore territory, complete with a brooding, clean-sung performance out of Middleton to perfectly match the air of nostalgic melancholy for a time 20 years past.

Nonetheless, the two songs that truly sum up the unique niche that this album rests upon are the measured yet chaotic thrasher of a title entry, “The New Flesh”, and the drawn-out epic riff monster and closer “Seeds In The River”, which mixes more brilliant mid-2000s balladry and even some symphonic trimmings into the death-thrashing mix.

It’s a very safe assumption that those who have already been drawn into Sylosis’ world of uncompromising metallic fervor with a technical edge between their 2008 breakout debut, Conclusion Of An Age, and now will be satisfied with what The New Flesh has to offer. Though it might seem a bit overwhelming to a newcomer to this outfit’s material, which is more accustomed to the stylistically straightforward character of Trivium, Lamb Of God, or The Haunted, it is grounded enough to appeal to said tastes with a minimal level of adjustment.

This album showcases a band that, in spite of having more than 3 times as many former members as it does current ones, has found a greater degree of focus in how they commit their highly eclectic sound into a package that is reasonably concise and accessible. Opinions may vary as to whether this is Sylosis’ finest moment yet, but The New Flesh definitely ranks high among their growing list of studio accomplishments.

Release Date: February 20th, 2026
Record Label: Nuclear Blast Records
Genre: Melodic Death/Thrash Metal

Musicians:

• Josh Middleton / Guitars, vocals
• Conor Marshall / Guitars
• Ben Thomas / Bass
• Ali Richardson / Drums

The New Flesh Tracklist:

1. Beneath The Surface
2. Erased
3. All Glory, No Valour
4. Lacerations
5. Mirror Mirror
6. Spared From The Guillotine
7. Adorn My Throne
8. The New Flesh
9. Everywhere At Once
10. Circle Of Swords
11. Seeds In The River

Order the album here.

The post SYLOSIS – The New Flesh (Album Review) appeared first on Sonic Perspectives.

Billy Preston may be best known for working with both The Beatles and The Rolling Stones, yet there is so much more to the man than meets the keys — including his complicated life away from the stage and studio. Twenty years after his passing, he finally gets his story told through various points of view in Billy Preston: That’s The Way God Planned It. Director and writer Paris Barclay’s documentary sifts through all of Preston’s glories and crashing falls in an extensive tell-all that’s bound to astound at every turn.

The opening with Preston’s happy dance at the Concert For Bangla Desh exemplifies his musical accomplishments — from starting out as church organist when he was 5, serenading Nat King Cole at 11, going on the road with Little Richard at 15, working with Sam Cooke and Ray Charles, recording with The Beatles, going solo, touring with The Rolling Stones, writing the Grammy Hall of Fame hit for Joe Cocker, “You Are So Beautiful” and beyond.

Barclay was able to secure key footage from the Beatles’ Get Back documentary that captures the moment Preston walks in on the Fab Four’s recording session. And we watch as the group comes to life the minute the keyboardist sits behind the electric piano he’s directed to by John Lennon. They fall right into “Don’t Let Me Down” and off it goes from there. Ringo Starr points out that “Billy had a better idea for the riff,” adding he “never put his hands in the wrong place.” For all the success Preston experienced before and after, his time with The Beatles was likely the most satisfying. And, according to Olivia Harrison, one of the film’s executive producers, her husband and Preston were especially close, as evidenced by the recording and touring they did together. That comes full circle later.

Preston’s upbringing without a father resulted in, as we learn, his mother Robbie taking the reins, relocating herself and her family to Los Angeles, where they became active in the local Baptist church. It was at church where Billy Preston blossomed into a musician. From the young age of 5, he began his ascent. Gloria Jones and Blinky Williams, singers with the Cogics, a popular gospel group a young Preston briefly with, speak fondly about him throughout the documentary. Jones styles herself as an older sister of his.

At 11, he played a young W.C. Handy (aka the Father of the Blues) in the 1958 movie St. Louis Blues starring Nat King Cole, Mahalia Jackson, Ella Fitzgerald, and Pearl Bailey. There’s one delightful clip from a television show we see from around the same time period when Preston plays his own song “Billy’s Boogie” for Nat King Cole. By the looks, he was already on his way to connecting with music’s biggest legends.

Then there was the dark side.

Friend and writer David Ritz, who’s penned biographies about Ray Charles and Aretha Franklin, says he attempted to get personal with Preston for a book they talked about writing. The musician shied away. Preston’s personal struggles, which he mostly kept to himself, were on full display after the accolades stopped.

We get the dirty details in full — the drug abuse, his arrest and conviction (house arrest and 90-days probation) in the early 90s for sexual assault, along with drug and weapons charges, followed by a spell in prison in 1997 for cocaine. As if that wasn’t enough, Preston was charged for fraud while in prison. His friend Tony Jones says in the film that Preston never wanted to talk about any of his troubles, speculating “one thing or another thing haunted him.”

Speculation and wonder — from Preston being sexually assaulted when he was a teenager on the road with Little Richard, to statements like “Billy was attracted to women, but didn’t really date them or men; he was lonely,” to his love for Courvoisier and cocaine — is heavy in this documentary, with little input from Preston himself. From what one can conclude, he battled demons, some of it around his sexuality, which he struggled to keep private in showbiz circles, choosing instead to align his passion for music with his strong faith and spiritual beliefs. “I believe my talent was a God-given gift,” Preston remarks at one point.

To truly to get a sense of how much music kept Preston going, all you have to do is watch him in action as he takes over the lead vocal from Eric Clapton on “Isn’t It A Pity” at the Concert for George in 2002. This led to more opportunities including a tour with Clapton and winning a Grammy for his final recording of “You Are So Beautiful” with Sam Moore. A relapse and other health issues resulted in his unfortunate passing at 59 in 2006.

Billy Preston: That’s The Way God Planned equitably sums up a life filled with incredible highs and catastrophic lows. Watching this film, you can’t but recognize just how much Billy Preston, despite his very human flaws, gave to music, the people he worked with, the songs he played on, the songs he wrote, the tours, the influence he had others. For that alone, he deserves a standing ovation.

~ Shawn Perry

Last month Commitment announced their debut album Fear Of and unleashed the second single “Dog Pound,” following December’s “Hellraiser.” The Philly hardcore supergroup is back today with another ferocious ripper, and this one’s called “STD.” “‘STD’ (Send The Deposit) is an anthem for the oldest profession in the world, a profession that to this day is…

The post Commitment – “STD” appeared first on Stereogum.

Watch/Stream “Scarlet Beast – Leviathan” HERE: https://youtu.be/R84svP3mTJo

The gates open once more.

With the release of “Scarlet Beast – Leviathan,” BELPHEGOR return at their most menacing and deliberate, delivering a track that moves with the force of an advancing colossus. Built upon lumbering, monolithic riffs and a suffocating sense of inevitability, the single embodies a towering presence, vast, unrelenting, and absolute.

“Scarlet Beast – Leviathan” does not chase speed; it commands submission. Favoring tension, density, and sheer authority over velocity, the song fuses ritualistic black metal atmosphere with the crushing weight of death metal. The result is a sonic behemoth, oppressive, deliberate, and unstoppable, advancing through scorched terrain with death trailing in its wake.

The single arrives as BELPHEGOR kick off their North American “Praise The Beast” tour, carrying this new chapter directly onto the stage. The track’s immense weight and deliberate pacing translate into a live experience built on tension and command, setting the tone for a run that promises ritual intensity across the continent.

Accompanying the single is a stark and uncompromising music video that captures the essence of true darkness. Gritty and raw in execution, the visual counterpart strips away artifice and embraces ritualistic imagery, shadow, and decay. It is not spectacle, but invocation.

With “Scarlet Beast – Leviathan,” BELPHEGOR once again prove their mastery of controlled devastation. The beast does not rush. It advances. And nothing stands in its path.

Praise The Beast North American Tour 2026:

02/19 – Brooklyn, NY, Brooklyn Monarch
02/20 – Lowell, MA, Taffeta Music Hall
02/21 – Montreal, QC, Le Studio TD
02/22 – Toronto, ON, Lee’s Palace
02/23 – Lakewood, OH, Mercury Music Hall
02/24 – Joliet, IL, The Forge
02/26 – Denver, CO, HQ
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

Purchase tickets HERE: https://www.belphegor.at/present.htm

More from BELPHEGOR: www.belphegor.at | Facebook | Instagram | Youtube

More on RPM:
reigningphoenixmusic.com | Facebook | Instagram | TikTok | YouTube

Last year, Max Winter released his debut solo EP Mourning Routine, played in Nourished By Time’s live band, and unveiled his first album with his band thredd. Now the experimental-pop musician is joining forces with Sorry’s Asha Lorenz, London rapper Rael, and his bandmate Will Lister for a cool new track called “Candlelight.” “Candlelight started…

The post Max Winter – “Candlelight” (Feat. Asha Lorenz, Rael, & Will Lister) appeared first on Stereogum.

The tributes come as a “robust event and merchandising plan” is unveiled to celebrate Bon Scott’s 80th birthday

DJ Seinfeld is back with his second release of the year. On the heels of last month’s buoyant “Plush,” the Swedish electronic artist is joining forces with Norweigian singer-songwriter ARY for a cathartic tune called “Of Joy.” “This was the first song that I wrote for an upcoming new project, which has also been a…

The post DJ Seinfeld – “Of Joy” (Feat. ARY) appeared first on Stereogum.

Rapidly approaching the release of their third full-length album, Royal Discordance due out Friday 27 February via SharpTone Records, today Melbourne’s The Gloom In The Corner unveil the rollicking new single You Didn’t Like Me Then (You Won’t Like Me Now). Balancing palpitating urgency with sweeping choruses, fiery guitars and swooning melodies, You Didn’t Like […]