Britney Spears has plead guilty to her misdemeanor charge of driving under the influence of drugs and alcohol, the New York Times reports. The pop star was arrested for suspicion of DUI last March after highway patrol officers in Ventura County, California found her driving erratically on Interstate 101 and showing “signs of impairment.”
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They’ve also landed a spot in an upcoming new rhythm game.
The post Living Wreckage (Shadows Fall, Etc.) Debut “Righteous Side Of Sanity” appeared first on Theprp.com.
When I see the title of Yoth Iria’s third full-length, Gone with the Devil, I can’t help but think of the Spanish farewell, “vaya con Dios,” or “go with God.” Originally—and still, in some circles—the phrase was an earnest blessing and wish for safety; however, centuries have stained it with a negative connotation. The phrase can now showcase a speaker’s disapproval for the recipient’s intended actions, implying that whatever they’re going to do is dumb enough that only God will be able to get them through it. After two enjoyable-to-impressive albums, is Yoth Iria’s cheeky inversion of the phrase a genuine wish for guidance from the Son of the Morning, or is Gone with the Devil a hot mess only Satan can save?
On 2021 debut As the Flame Withers and 2024 follow-up Blazing Inferno, Yoth Iria’s sound was focused—Hellenic black metal injected with a mix of 70s-80s metal and Middle Eastern atmospherics. Gone with the Devil sees the Athens-based five-piece employ a more exploratory, instinctual, and unrestricted approach to composition…or so the promo material says. In actuality, Yoth Iria leans into accessibility. Elements of their original Hellenic sound remain (“The Blind Eye of Antichrist,” “Woven Spells of a Demon”), infusing the album with a warmth typically absent in black metal. But with tracks that wouldn’t be out of place on an Equilibrium record (“Dare to Rebel”), the newest Arch Enemy (“I Totem,” “Blessed Be He Who Enters”), or a metalized Imagine Dragons (“3AM,” “Once in a Blue Moon”), Gone with the Devil feels fundamentally different from previous releases.
In pursuing wider appeal, Yoth Iria dilutes much of what made them unique, and Gone with the Devil is less engaging for it. The markers of heavy music are all still present—blast beats, harsh vocals, distorted guitars, etc.—but the soul that gives an album weight is totally absent. “3AM” is as forgettable as elevator muzak, and much of the back half of Gone with the Devil1 shares a similar mid/slow-paced rhythm that barely gets my eyes open, let alone my heart pumping. Predictable song structures and played-out tropes, like whispers preceding a heavier passage (“I Totem”) or synths/folk instrumentals returning to bolster a final chorus (“Give ‘Em My Beautiful Hell”), give the impression that Yoth Iria is just going through the motions or following someone else’s recipe.
This isn’t to say Gone with the Devil is bad. Yoth Iria, as a band, is obviously wildly talented, and what they do play, they play well. There are some songwriting bungles, like the end of “I Totem,” the pacing of “Harut-Government-Fallen,” and the choral chanting of “The Blind Eye of Antichrist,” but the album flows well and sounds great. Guitarists Nikolas Perlepe and Naberius weave a lush tapestry of blackened trem-picked riffs and retro leads (“I Totem,” “Give ‘Em My Beautiful Hell”), while bassist Jim Mutilator’s (ex-Rotting Christ, ex-Varathron) presence and influence infuse every second of Gone with the Devil. Vocalist HE and drummer Bill “Vongaar” Stavrianidis have excellent synergy, driving the album’s atmosphere and the ebb and flow of its tension. These performances shine thanks to Gone with the Devil’s production. The vocals might be a smidge forward and the rhythm guitars a touch back, but the mix is both intimate and spacious, offering warmth and clarity on an open soundstage.
Sound and performance can’t save an album, though. Where once Yoth Iria demanded my attention with a unique sound, Gone with the Devil seems geared toward maximum radio engagement or being inoffensive corporate playlist fodder. During my time with the album, I often felt like I was listening to a Temu version of Havukruunu. A seemingly intentional forfeiture of individuality, vapid filler track energy,2 and uninteresting—though adeptly played—instrumental performances make Yoth Iria’s latest a far cry from their previous work. Again, Gone with the Devil isn’t a bad album per se. It’s just milquetoast and unremarkable.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: PCM
Label: Metal Blade Records
Websites:Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026
The post Yoth Iria – Gone with the Devil Review appeared first on Angry Metal Guy.
“I don’t wanna have a feud.”
The post Megadeth’s Dave Mustaine Says He Put His Metallica Feud To “Sleep” Years Ago appeared first on Theprp.com.
by Roie Avin
During the summer of 1996, I was traveling across Europe, visiting different countries at a time before the internet and cell phones were part of everyday life. One of the things I enjoyed most was tuning into local radio stations on my Walkman to discover new music. There was one song that kept coming up, and while I didn’t know the artist or the title, the chorus — “if it’s good enough for you, it’s good enough for me” — stuck with me.
A few weeks later, in a record store, I asked about the song, and was pointed toward Free Peace Sweet by Dodgy, which featured the hit “Good Enough.” I had never heard of the band, but I took a chance on the album. When I got back home to the U.S. and spent more time with it, I quickly became a fan — and have remained one for nearly 30 years.
For those unfamiliar, Dodgy were part of the mid-90s UK scene alongside bands like Oasis and Blur. What set them apart was their strong melodic sensibility and clear influences from artists like The Beatles, ELO, Jellyfish, and even The Who, giving their sound a feel rooted in the late ’60s and early ’70s. Their music leaned heavily on rich harmonies, layered arrangements, and a willingness to stretch beyond straightforward Britpop. Despite their success, the band split during their peak when main songwriter Nigel Clark departed for a solo career. The original lineup of Clark, Mathew Priest, and Andy Miller reunited in the 2010s and released new albums in 2012 and 2016.
Now, ten years later, Dodgy return with Hello Beautiful. Having spent time with the album since its release, it’s surprising how strong it is — easily standing alongside their best work from the mid-90s. While this isn’t a progressive rock album in the traditional sense — it doesn’t resemble Yes, Genesis, or Dream Theater — it fits comfortably within the broader scope of artists we cover who value songwriting craft, experimentation, and strong production. If you appreciate bands like Jellyfish, ELO, or Supertramp, there is plenty here to connect with.
Hello Beautiful features loads of strings, guitars, horns, and harmonies throughout 10 primarily acoustic-based tracks, with each one offering something unexpected. “The Likes of You and Me” starts simply before building into a surprisingly heavy and expansive second half. “Call It What You Want” begins as a Beatles-esque acoustic piece, reminiscent of the White Album era, before shifting into something entirely different midway through, almost leaning into an R&B style groove.
“Summer Forever” delivers exactly what the title suggests — a bright, melodic pop song full of bounce and layered harmonies, again with plenty of keys and horns. There is no way to hear this track and not smile. Tracks like “Looking Back” and “Out of Time” lean more into an alternative sound, with prominent guitars and subtle twists in arrangement that keep things interesting. “Beside Me” stands out as a lush ballad, with orchestration and melody that feel very much in line with ELO’s style.
The album closes with “Fall Into Me,” which, while not technically complex, has a sense of progression and sophistication in its structure and build. It delivers an expansive, satisfying ending. The simplest track may be the opener, “Hello Beautiful,” but even there, the strength of the songwriting carries it, and it does serve as a worthy first single.
For listeners who may not typically gravitate toward this style, this is one of those albums that rewards an open mind. It may not be “prog,” but it embodies many of the qualities — creativity, strong arrangements, and melodies — that any prog fan might enjoy.
If you’re new to Dodgy, Hello Beautiful is a great entry point. From there, their 90s run — particularly Homegrown (1994) and Free Peace Sweet (1996) — remains well worth exploring.
01 Hello Beautiful
02 The Likes Of You And Me
03 It’s Not The End
04 Call It What You Want
05 Summer Forever
06 Looking Back
07 Beside Me
08 Out Of Time
09 Fall In To Me
The post Dodgy – Hello Beautiful (Album Review) appeared first on The Prog Report.
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Before unleashing the bats live in Finland, Sweden, Denmark, Switzerland and Germany CEMETERY SKYLINE are releasing a deluxe edition of their highly successful debut album. […]
The post CEMETERY SKYLINE – “Nordic Gothic (Deluxe Edition)” is out now, European Tour Starts May 6th appeared first on Metal-Rules.com.
Evetts has worked on countless metal and hardcore records.
The post Producer Steve Evetts’ Studio Feared Lost In Massive Belleville, NJ Fire appeared first on Theprp.com.