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  • Achtung! Destroy the Weak: TRENCH WARFARE’s Second Album Is Streaming in Full

    Eight tracks in just over 33 minutes leave little room for restraint. TRENCH WARFARE’s second album, Achtung! Destroy the Weak, is now streaming in full through Conjuring Records, with physical copies following on September 4. The follow-up to Hatred Prayer pushes the West Texas band’s sound further toward classic death metal without abandoning its war […]

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  • Fear Factory perform ‘Roboticist’ live for the first time

    During their tour kickoff in Poznań, Poland on August 29

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  • DS Show Review: Ben Nichols and Friends bring “In The Heart Of The Mountain” to Medford, MA

    When we talked to Ben Nichols about his solo record In The Heart Of The Mountain back in the summer of 2025, he wicked out loud about being able to bring the full lineup that played on the record – Cory Branan on electric guitar, Todd Beene on electric and pedal steel, MorganEve Swain on violin and backing vocals – out on a proper tour some time in the future. We here at DS are no strangers to seeing Nichols solo, but it’s usually in a whiskey-soaked solo performance at the inimitable Crossroads in Garwood, New Jersey. It certainly took long enough, but August 2026 finally brought that aforementioned full-band performance on a proper Northeast tour, and the most Boston-area of the tour’s stops took place at Deep Cuts in Medford, an up-and-coming venue that’s quickly carved out a name for itself as one of the area’s premier small (<250 cap) venues. (The attached pinball arcade and record shop certainly don’t hurt.)

    This leg of the tour also featured a very familiar face as its opener; none other than Cory Branan. Backed by only his trusty Martin acoustic or a pretty sweet Nash Guitars JM-63 and a mothership’s worth of effect pedals, Branan kicked things off with the first track from his forthcoming full-length, You’ll Live. The track also appeared on Branan’s self-released Covid-era classic Quarantunes: Now That’s What I Call Isolation VOL. 2 and served as a sort of a test balloon for the singer-songwriter. He’d been knocked down a few pegs by a sinus infection for the better part of this week, but the punked-up, 45-second burst that is “Teeny Says” showed that he was back in prime fighting form. From there, it was off and running for a 45-minute set that included a handful from his last record, When I Go I Ghost, especially “When I Leave Here” and the murder ballad “Pocket Of God” both of which tend to find Branan channeling a sort of inner anger that belies the bulk of the rest of his work. Arguably his two biggest hits, Mutt staples “Survivor Blues” and “The Corner” made appearances, as did “Yesterday (Circa Summer 80 Somethin)” and “The Freefall,” a pair of songs that I’ve always thought were the prologue and epilogue to a story of young love. The set closed out with another audience request from Mutt, this time “Hold Me Down,” which is a song that I’m not sure I’ve ever heard Branan play despite having caught him nearly two dozen times over the years. It was a particularly weighty version too, which might have made yours truly realize how dusty it was inside Deep Cuts on that particular Sunday night. Wouldn’t be the last time that’d happen.

    Upon the conclusion of Branan’s solo opening set, all he had to do was maneuver his battleship to the left rear of the stage and swap out the Martin for a Stratocaster, and then it was time for Nichols and Swain and Beene to join him. The quartet kicked things off with “The Last Pale Light In The West” and “The Kid” from Nichols’ 2009 Cormac McCarthy-inspired solo album The Last Pale Light In The West. The TLPLITW songs shine in this particular four-piece format, as they should: Beene played pedal steel on the album versions, and Swain’s violin playing adds a haunting, forlorn quality that’s true to the source material. From there, it was into In The Heart Of The Mountain. The album was played in order, and the live versions don’t stray too much from their recorded versions, though there were ample occasions on which Nichols let his extremely talented crew take their individual moments to musically shine. Nichols made frequent mention of how appreciative he was to have Beene, Swain and Branan supporting him both in the studio and on the road, bringing life to his songs. After the scripted, album-related portion of the set, things loosened up a bit, as they’re wont to do at a Nichols/Lucero show. There was a trio of songs related to movies that Nichols’ younger brother Jeff has put out, “Loving,” “Bikeriders,” and an impromptu version of “Shelter” (from Jeff Nichols’ 2011 film Take Shelter) that was not only unrehearsed but that none of Nichols’ formidable backing band had ever so much attempted in any format before. Last Pale Light tracks “Chambers” and an incredibly haunting version of “Toadvine” made appearances, as did a handful of Lucero tracks, most notably the audience-request “Old Sad Songs,” which originally appeared on Lucero’s 2002 classic Tennessee and which Branan, I think, originally played on? Maybe? “Texas & Tennesee” and “Nights Like These” roudned out the set in traditional, full-throated singalong fashion.

    As someone who has seen either Lucero as a band or Nichols solo many dozens of times over the years, it’s a real treat to see these songs – both solo and band originals – in this particular format. Swain and Beene and Branan are each uniquely talented, and watching the interplay between them, knowing when and how to both bring their own chops to the forefornt and to create space for the others to bob and weave, all behind Nichols’ generationally-talented songwriting is pretty special (especially when it takes place a few steps from my day job). Now lets get to work on the new Lucero record!

    Enjoy a bunch more pics below!

  • “We’re the Arctic Monkeys trying to play Slayer.” Meet Ronker, the Belgians who ditched indie for thumping hardcore

    In terms of bizarre musical ideas, indie for metal fans is right up there. But the healing process between the tribes might just have been given a kickstart in Belgium of all places.

    “Yeah, indie for metalheads, you heard me right,” laughs Ronker vocalist and guitarist Jasper De Petter. “You could almost say that we’re the Arctic Monkeys trying to play Slayer.”

    Let’s back up a minute. Formed during lockdown in 2020 when the members were feeling the frustrations of not being able to tour with their various bands, Ronker were initially nothing more than an outlet to shake off the grim reality of being trapped indoors.

    “We all come from a world of post-rock and melancholic indie,” Jasper tells us. “During lockdown, I just couldn’t get my head around the situation, so when we got in a room, we started to play that music, but it came out with so much frustration and anger it was just like…”

    Indie fans playing metal? “Exactly.”

    Having realised that they were getting more from their new side-project than they were their other bands, Ronker became the members’ number one concern. Superb second album Respect the Hustle, I Won’t Be Your Dog Forever comes on like Every Time I Die fist-fighting Franz Ferdinand with Idles as the special guest referee. It’s a weird mix, with Jasper happily describing Ronker as “heavy, cathartic music”. He also credits his sobriety as a big reason for his band’s sound.

    “I used to write fucked-up,” he shrugs. “But I wrote this last album sober. I learned a lot about songwriting and opening up – it focuses your mind, it made me more pointed, more blunt. Which, I believe, in turn makes it heavier.”

    Whatever the genre, making it heavier is always an approach we approve of. Welcome, boys.

    Respect The Hustle, I Won’t Be Your Dog Forever is out now via Labelman.

    Sounds Like: Idles refereeing a cage-match between Arctic Monkeys and Slayer
    For Fans Of: Idles, Refused, The Chariot

  • The Offspring release cover of Ramones’ ‘I Wanna Be Sedated’

    The band have been performing their take on the song during recent live shows

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  • Trivium and In Flames announce 2027 European tour

    With Paleface Swiss and VOLA

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  • Clutch release new single and lyric video ‘The Drifter Returns’

    Their first new studio music since 2022’s ‘Sunrise on Slaughter Beach’

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  • Eldfödd – Drop ‘From The Light Into The Dark’ Track

    The newly streaming “From The Light Into The Dark” track serves as a first taste of Eldfödd‘s debut full-length The Night Belongs To The Dead, which is ready to hit the streets October 30, 2026 via Edged Circle Productions.
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  • Mastodon – Marrow Deep Review

    Anchored by a somber weight and deep emotional pain impacting the connective tissue binding Mastodon over the decades, Marrow Deep signals a new era for the Atlanta heavyweights. Ninth album, and first since 2021’s bloated and occasionally brilliant double opus, Hushed and Grim arrives on the back of turbulent and traumatic times. Enigmatic founding member, uber-talented axeman/vocalist, and all-round wild man Brent Hinds parted ways in tense circumstances in March twenty-twenty-five, before tragically passing away in a motorcycle accident in August of the same year. The tragedy surrounding Hinds’ premature death hangs heavily over Marrow Deep’s conception. The remaining core trio of bassist/vocalist Troy Sanders, drummer/vocalist Brann Dailor, and guitarist Bill Kelliher composed the album, fleshing out the material with fresh members, guitarist Nick Johnston and keyboardist/synth player João Nogueira. Marrow Deep exorcises tense emotional grief, and like its predecessor, pulls on the heartstrings.

    Listeners who tapped out following Crack the Skye will find little here to bring them back into the fold. Following the exhaustive length of Hushed and Grim, cut down to size, Marrow Deep still sports a hefty 65-minute runtime. Peppering their progressive metal and sludge rock core with heady psych and stoner influences, alongside mellower rock and prog fare, Marrow Deep is also frequently direct and punchy. “Your Ghost Again” signals a fitting tribute to their fallen brother, anchored by urgent, driving verses, blossoming into haunting melodies, playful prog and a crushing climax. Fellow singles also fare well, such as the keyboard freakout and effective, minimalist cameo from Josh Homme (Queens of the Stone Age) on “Snakes for Dinner,” or the impressively raw, gut-wrenching Sanders vocal performance on the doomy ” Ruins,” inspired by the personal events of Hurricane Helene.

    Dailor’s smooth, though divisive, melodic vocals, alongside the deceptively dynamic bellows and rough vox of Sanders, sound confident, impassioned, and familiar, while the increased integration of keys and synths enlivens the Mastodon formula, adding texture and swirling psychedelia into the sludge rock and progressive metal populating infectious, riff-driven songcraft. Heavier and more energetic than its predecessor Marrow Deep often hits with impact. Featuring a bending, genuinely heavy swagger, opener “Barbarians Blood” eventually unleashes a turbo-charged, thrashy, punk-metal groove that goes hard. Equally potent, “Poisonous Weapons” demonstrates Mastodon can still crush and destroy through dense, riffy sludge with a bitter edge. Upping the aggressive ante, Nate Newton (Converge/Cave In) and Randy Blythe (Lamb of God) lend their vocal talents to the fiery blast of “A Vampire’s Demeanor.” Elsewhere, the legendary Geezer Butler (Black Sabbath) supplies signature, tasty bass licks on the intro to the trippy, psych-leaning odyssey of “The Vanishing,” while Clutch’s Neil Fallon showcases his gruff preaching on jam-infested finale, ‘The Three Fates.” Gears shift on “Golden Spires,” sweetly balancing the album’s melodic sways and heavier surges through towering riffs and striking dynamics.

    Loaded with technical and progressive flair listeners have come to expect, performances are super tight. Johnston fills the Hinds void admirably, without simply replicating his admired predecessor. A hugely competent shredder, Johnston puts his own stamp on Marrow Deep, getting a particular opportunity to exhibit his classy soloing on Marrow Deep’s more exploratory, psych and stoner heavy tunes (“The Vanishing,” “Moth and Bone,” and monolithic closer “The Three Fates”). Dailor’s drumming is as intricate and creative as ever, without overplaying his hand, and the Dailor/Sanders vocal combo sounds confident and assured. Unfortunately, Marrow Deep is saddled with a crunchy but overly clean production and compressed mastering job sapping some of the album’s sonic power. Concerning self-editing issues also surface, and while most the material lands, there are occasional lulls and plods suggesting some shrewder editing may have been required.

    For all of Marrow Deep’s strengths and fresh designs, the absence of Hinds is strongly felt. Whether through his songwriting contributions or unique guitar style, which cleverly incorporated outside influences, such as bluegrass and southern rock twang, into Mastodon’s progressive sludge formula. Meanwhile, his hugely expressive, soulful soloing and unmistakable vocals feel odd to be missing; moments occur where you half expect a Hinds vocal to pop up. Gripes aside, Marrow Deep is a better album than expected considering the massive hole left by Hinds’. Credit to the remaining members and new blood for forging ahead with optimism, crafting an entertaining opus. Time will tell where Marrow Deep fits in the greater Mastodon canon. As it stands, Marrow Deep marks a rejuvenated, cathartic, nerve-poking transitional turn from Mastodon.

    Rating: 3.5/5.0
    DR: N/A | Format Reviewed: Lousy Stream
    Label: Lorna Vista Recordings
    Websites: mastodonrocks.com | Bandcamp
    Releases Worldwide: August 28th, 2026

    The post Mastodon – Marrow Deep Review appeared first on Angry Metal Guy.

  • Rob Moss and Skin-Tight Skin and TA-80 – Split single


    I am very pleased to have yet another opportunity to write about Rob Moss and Skin-Tight Skin’s split singles series, and this latest installment is one I’ve been especially stoked about! With a lot of these singles, I’ve become more educated about bands or artists I was not yet super familiar with. This time out, Moss and his band are collaborating with TA-80, one of my favorite bands. So in this case, with me being a big fan of both bands, I was really excited about hearing what would happen when they traded songs. It seems an unlikely pairing on the surface, but that is what makes it so intriguing. 

    Moss and Skin-Tight Skin (which, on this release, finds lead guitarist Marshall Keith joining bassist Tom McNally and drummer Steve Naff ) take on TA-80’s “Black Glitter” from the 2018 album of the same name. Moss notes that he saw Marshall Keith playing with The Slickee Boys back in late 1979 or early 1980. And the impression that that performance made on him was massive. Says Moss: “They were having so much fun on stage that, even though I had yet to pick up a bass or a guitar, I knew I had to start a band. So, for me, Marshall playing on my songs now is a treat.” The original version of “Black Glitter” is a typical TA-80 pop/punk rock ‘n’ roll party-starter. Moss and his band transform it into a grittier old school punk sing-along with snotty vocals and ripping lead guitar. It’s a killer take on a fantastic song! Both versions of the song are chock full of attitude, but they are definitely different kinds of attitude. If you heard this track on a playlist, you’d have no reason to suspect Moss didn’t write it.  

    On TA-80’s half of the split, the band tears into “Two Slices of Bread,” which originally appeared on Moss’s excellent 2022 album Now With More Rockets. Moss wrote the song as an homage to Willie Alexander and The Boom Boom Band. TA-80 has taken the song and run with it, turning into something that sounds like early ’80s Southern California hardcore punk! The energy and speed are dialed way up. The band’s affection for the original version is undeniable, but I love that it brought its own unique energy to this version (replete with some obligatory guitar shredding). 

    In keeping with the spirit of this entire series, both bands here were not at all handicapped by a fear of changing the songs they were covering. They both really went for it, and what results is a single that’s a lot of fun to listen to. It’s like watching two monsters swap brains and get up and try to dance. If you’re a fan of both bands as I am, this single is an essential purchase. If one of these two bands is new to you, I imagine you’ll be inspired to dig into their back catalog! This is another winner in a series that continually hits the mark.