The post The Birth of Deathrock: Christian Death Band History and Legacy appeared first on Edgar Allan Poets – Noir Rock Band.

If you’re unfamiliar with Philly’s newest temple to metal and spirits—or even if you’re quite familiar—this weekend is the perfect time for a visit as we’re proud to be partnering with Doom bar as the official home base of Metal & Beer Fest 2026!

“Yes,” you say, “Yes! I need to be there! I’ve seen the giant letters of DOOM outside the building, and they have called me to this most metal of temples! But when should I go there?” An excellent question. Our personal recommendations are for the official pre-party on Friday, May 1 beginning at 7 pm; dinner before or after the fest on Saturday and Sunday (their kitchen is open until 1 am); and for the official after party Sunday evening.

With a menu that boasts some excellent renditions of bar favorites, as well as vegan options and a sauce for the spice enthusiasts (appropriately titled simply “Doom”), it’s the go-to for food before or after the show. While they feature a certifiably excellent beer list year round, for this particular weekend Doom has picked up exclusive beers and collabs with the heaviest of heavy hitters in the industry like 3 Floyds (including the Municipal Waste Pre-Party Pils collab!) as well as some extremely extreme newcomers like Requiem Bier. Have we mentioned their meticulously curated music, as well as their altar to spirits? Give the malort a try!

Located just over a mile from Fillmore, just outside of Center City, the location is perfect for your pre-party, dinner and after party needs, especially with the kitchen open until 1 am. Be there and be Doomed!

The post DOOM Bar is the official home base for Metal & Beer Fest 2026! appeared first on Decibel Magazine.

(written by Islander) Initially formed in 2012 as a studio-only black metal band, Arrogant Destruktor from Birmingham (UK) eventually expanded into a full line-up and have released three albums and a few shorter releases in the ensuing years. Since the release of their 2023 album Written in Blood from the Blade, they’ve enlisted a new […]

The post AN NCS VIDEO PREMIERE: ARROGANT DESTRUCKTOR — “THE OLD SPIRIT REMAINS” appeared first on NO CLEAN SINGING.

Hollywood Undead are back with a new track that sees them joining forces with none other than Jeris Johnson.

Titled ‘All My Friends’, it finds the collective diving even deeper into their roots with a savage, tongue-in-cheek and punishing piece of crossover destruction. From the throwbacks to their megahit ‘Everywhere I Go’ to Jeris pulling out the big melodies on the chorus, it’s a song that showcases everything that has made the band so unique and undeniable over the last two decades.

As much about fighting off the pressures of life as it is conquering everything that is in your path, it’s the sort of tune that gets the blood pumping.

It follows on from the release of the Slayer-sampling ‘1×1’, which arrived back in March:

The band will return to the UK this Summer, playing Download Festival. They join Limp Bizkit, Guns N’ Roses, Linkin Park, Halestorm, Architects, A Day To Remember, Feeder, The All-American Rejects, Scooter, Cavalera, Blood Incantation, Static-X and many MANY more.

It will be taking place between June 12-14 at the world-famous Donington Park. Tickets are available right now from right here.

The post Hollywood Undead Team Up With Jeris Johnson On Huge New Track ‘All My Friends’ appeared first on Rock Sound.

Taking on Cornell’s 2015 solo track “Dead Wishes”.

The post King Ultramega’s Latest Chris Cornell Cover Features Mastodon’s Brann Dailor, Plus Kenny Aronoff, Angel Vivaldi & More appeared first on Theprp.com.

The post GREEN DESERT WATER: Spain-Based Power Trio To Release Eerie Meadows On June 19th Via Small Stone Recordings; New Track Streaming + Preorders Available appeared first on INFRARED MAGAZINE.

Toronto, ON — Martin Springett has released a deeply personal digital-only album, Friendship – Remembering Wayne Kozak, a heartfelt tribute to his late friend and collaborator Wayne Kozak. The album brings together a rich collection of material that reflects both their creative partnership and a sense of emotional remembrance, with one of Kozak’s own paintings serving as the visual backdrop—perfectly reinforcing the themes of memory, friendship, and artistic legacy.

Described by Springett as a “legacy album,” the project honors not only Kozak’s musical contributions but also the wider community of artists who helped bring the recordings to life. Contributors include Kevin Laliberte and Norm Macpherson, who provided production across the album, while Thomas Kinzel adds piano to “Sliver Of Silver” and “Rain On The Rooftops,” and Morry Stearns contributes electric piano on “Strange Kingdom.” The album also features bassists Drew Birston, Peter Dowse, and Sean Drabitt, along with vocal performances by Denise Withnell on “For A Moment” and Howie Vickberg on “The Only Son.”

Further deepening its reflective tone, the late Robbie King appears through an arrangement of a poem by Rudyard Kipling. Springett has expressed both pride and gratitude for the project, noting that an alternate subtitle—The Art of the Solo—captures the album’s intimate and contemplative nature, as well as its role in preserving Kozak’s enduring artistic spirit. A wide range of contributors appear across the album’s tracks, including Kevin Laliberte and Norm Macpherson, who provided production work throughout the project. Thomas Kinzel delivers piano on “Sliver Of Silver” and On The Rooftops,” while Morry Stearns adds shimmering electric piano on “Strange Kingdom.”

The album also features three bassists, Drew Birston, Peter Dowse, and Sean Drabitt, alongside vocalist Denise Withnell on “For A Moment” and Howie Vickberg on “The Only Son.” The late Robbie King is also featured for his arrangement of Springett’s setting of a Rudyard Kipling poem.

Track-list
1. The Only Son 09:37
2. Warm Blood 03:18
3. Caves and Cathedrails 03:18
4. Thieves And Poets 02:39
5. Tears at the Matinee 04:37
6. For a Moment 04:52
7. I Dream U 05:33
8. Moon of Madness 06:30
9. Sliver of Silver 04:57
10. Rain on the Rooftops 02:16
11. Tricksters 06:34
12. Strange Kingdom 04:49
13. Friendship (For Wayne) 04:32

About Martin Springett
Martin is a Canadian musician and graphic artist best known as the creative force behind the progressive art rock project The Gardening Club. Renowned for his intricate guitar work and richly layered compositions, Springett blends elements of progressive rock, classical, and ambient music into a distinctive and atmospheric sound. Alongside his musical career, he has built a reputation as a talented illustrator and designer, contributing striking visual artwork that complements his recordings. His dual talents have made him a respected figure in both the music and visual arts

Martin Springett Online
Facebook: https://www.facebook.com/profile.php?id=100063298533637
MRR Artist profile Page: https://mrrmusic.com/project/a-gardening-club-project/
Bandcamp: https://thegardeningclub.bandcamp.com/

A few days ago London-via-East Yorkshire producer ashnymph, whose real name is Will Wiffen, released his debut EP Childhood and announced the track “47” as a single. It’s very good and trippy and weird, and I haven’t been able to stop thinking about it, therefore I must blog it. Childhood has a playful makeshift feel…

The post ashnymph – “47” appeared first on Stereogum.

Album Review: Frozen Soul – No Place Of Warmth

Reviewed by Sam Jones

Frozen Soul by this point are no new act. There was a time you’d see them open a night as the first supporting band, now they’re headlining tours across the US and Europe. Formed in 2018 out of Texas, United States, Frozen Soul spearheaded the next generation of death metal alongside Undeath and Tomb Mold, turning heads with their debut 2019 Demo, Encased In Ice. As the world plunged into Covid-19 induced isolation Frozen Soul worked to release their first full length work, Crypt Of Ice, for 2021. Boasting a sound wondrously familiar to Bolt Thrower, Frozen Soul doubled down on their sound for their follow-up release, 2023’s Glacial Domination, a record that saw the band rise to the pedestal they currently retain today, a marked improvement. But with a May 8th release date pencilled in, we have their third record inbound: No Place Of Warmth. Once more released via Century Media Records, No Place Of Warmth sees the band retain the entire roster for the third album running, demonstrating a nicely stable lineup. I’ve only seen Frozen Soul go from strength to strength and I can’t wait to discover what No Place Of Warmth does for them.

Frozen Soul have presence. That’s immediately apparent as the opening track begins, for you can tell they’ve clocked onto how much bigger they’ve become in recent years. As their performance begins you can feel the sledgehammer glistening in the winter light as it’s freezing hammerface goes through your skull. The band have never shied away from creating soundscapes that plummet from great heights or like tank treads press grievous wounds upon the flesh, but No Place Of Warmth cranks that element to eleven with instrumentation weaponised and outlined. There is absolutely no escape from the band and whilst this record plays you are going to listen and you are going to feel every ounce of power Frozen Soul bring to bear. The guitars and bass and drums have been brought to the absolute precipice in line with the vocals, creating a suffocating environment where all else is snuffed out.

As established, Frozen Soul’s tempo is pretty set and given the response many have had regarding their songwriting they’re satisfied with receiving more like it. The tempo of their riffs, akin to the legendary Bolt Thrower, is this trudging, creeping force that is going to reach you no matter how far you run; however I felt this record did the best at varying the songwriting whereby that familiar tempo doesn’t grate on newcomers especially. Perhaps the drums will change up patterns, perhaps the vocals will alter the cadence, slow the delivery into some commanding, unapologetic stance, or maybe the band will throw in a rapid fire track like “Absolute Zero” with blast beats and enough bass to send the yeti to therapy. The years have shown Frozen Soul continuously tweak their songwriting, refining it, to the point throughout this record, they’re reached the apex of their sound’s potential.

Buy on Vinyl

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The bass is simply monstrous; half the reason No Place Of Warmth is so gargantuan is because the bass tears through solid matter like scissors through silk. Not only does it permeate through every single moment the band are playing, providing that hideous foundational cushioning the band need for their songwriting to play against, but I love how I can actively hear the basslines performed even as the main riffs are played with blunt force tenacity. There are drops in bass across the record akin to Sanguisugabogg, Defeated Sanity and many such titans renowned for their bass. With that said it’s not so massive that it overshadows the rest of the band; it amplifies their individual performances, entwining everything into a single collective assault, funnelled and ready to hit you at full speed akin to a freight train.

One of the band’s greatest strengths has been their vocals, not merely by the delivery but the strength that’s going into that delivery. When one listens to frontman Chad Green one doesn’t just feel his performance, they’ll genuinely believe with every fibre each ounce of sweat that’s gone into every syllable uttered. Like reaching his arm through the cover art to seize your jugular for asphyxiation you know he’s not messing around with his performance. His performance is as dynamic and alterable as any instrumental piece, bringing that crushing, tank-tread aesthetic to vocals just as easily as the band do via riffs or drums. But you’ll find his performance will suddenly cease, change, and now he’s taken command of the pedestal and is driving all beneath and around him to his will. There are also tracks where his vocals will drop rapidly in lieu with the bass and guitars so the whole soundscape legitimately drops several levels, inducing goose flesh and a groaning for carnage.

In conclusion, this truly is Frozen Soul’s finest hour. No Place Of Warmth is the culmination of the band’s entire career, everything they’ve previously worked on and towards. Looking back on every track I realised there wasn’t one where the band fell short, there was something memorable with each one, something to remember them by. It’s why No Place Of Warmth is an Album Of The Year contender in my eyes; Frozen Soul have unlocked the potential I and so many have known they could attain, and should a future tour see these guys return to the shores of the UK I will be there. No question. For thirty-five minutes Frozen Soul lay you out to waste so completely you’ll be dragging your destroyed, shattered form back for more out of sheer adrenaline and power dished out. There’s a reason Frozen Soul have attained such renown so quickly and even the doubters will tune into this record and see their eyebrows rise. There are some guest slots and featured acts here too but it never feels to be a crutch for the band, merely bolstering their innate abilities. I loved this record. It’s a serious hitter.

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