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Big news, doings and transpirings in the world of dynamic death metal demons and friends of Decibel, Undeath. Following a run of fan and press favourite albums Lesions of a Different Kind, It’s Time…to Rise from the Grave and More Insane, the Sons of Kodak City — that’s Rochester, NY, for those of you not up on the history of photography — have inked a deal with Relapse for the release of their next record and presumably for the foreseeable future. While everyone is still being cagey regarding the name of the band’s forthcoming fourth album, rest assured it’s going to be a rager, if the following studio report/update with frontman Alexander Jones is any indication.

*pics by Sabrina Joy

When was writing completed and when did you start recording?

We probably finished writing back in December and tightened everything up by January. We started recording with Colin Marston at the new Menegroth in Pennsylvania in the middle of March and wrapped up all the tracking about two weeks later.

When it came to writing this new album, was there anything you deliberately did different? Mistakes previously made that you wanted to avoid? Elements you wanted to experiment with?

There was never a conversation about wanting to do anything differently, but the general feeling in the air seemed to be that we wanted to make a much darker, nastier, meaner record than we had before. We don’t really ever have those “let’s try this now” conversations out loud because when you spend as much time together as we have over the last seven years, things like that tend to not even be said. There’s definitely more blasting on this album than any other Undeath record, which I’m stoked about. Definitely the most straight up evil Undeath album to date. Evil and fast and pissed – you know, death metal. The good kind.

I recently found myself in a conversation with [guitarist] Tommy [Wall] (which he likely doesn’t recall) during which he detailed some of the “less-than-ideal” circumstances surrounding your time touring on the other side of the planet (especially Australia) and the subsequent North American run. What sort of impact do rough patches like these have on the creative process or just band life overall (if any)? Was any part of the writing and recording affected by tough times?

I mean, look – all I’ve wanted to do since I was a kid was make music and be in a band. Getting the opportunity to travel the world and play that music for literally anyone who might give a shit about it is something I used to dream might happen to me someday, so the fact that it’s happened for us is something I will always be grateful for and I’m positive the other guys feel the same way. Yeah, we had back-to-back-to-back 15-hour drive days packed like sardines in an ancient van with no room to stretch out, but we were playing death metal in Australia. Five years ago Australia might as well have been Mars to me in terms of places I thought I might go someday, and now I’ve been there twice. Yeah, the North American tour that followed had a litany of things blow up in our faces along the way (one of the bands dropping off the entire tour with less than a week’s notice, far-less-than-expected attendance at a ton of the shows, not having copies of our new record to sell for over a week after it was released, a Hurricane cancelling our Florida shows, Matt getting pneumonia cancelling others…I could go on), but what else can you do besides see it through, go home, lick your wounds and get back at it as soon as possible? I’m not scared off by that shit. None of us are. Yeah, it can be demoralizing while it’s happening, but the crawl of time is relentless and puts everything, good and bad, in the rearview eventually. There’s only this present moment. Our expectations when starting this band were “let’s make the kind of death metal we enjoy listening to and play as many shows as possible” and that has never changed. So, that’s a long-winded way of saying that, for our creative process, the hard parts of devoting yourself to a band have just about the same impact that the good parts do: hardly anything. The mission remains the same.

Where did you record the album and with whom? How long did the recording take?

We recorded the album at Colin Marston’s new studio, Menegroth 2, in Cresco Pennsylvania. It took about two weeks and change.

What can you tell us about your time in the studio this time around? Did you do anything different when compared to past studio sessions? Did you learn any new studio tricks this time around?

With More Insane we wanted to try much more of a “let’s live in the studio for a while and get hyper-granular about everything” kind of approach, simply because it was something we had never done before and we thought it would be a cool experience. It was definitely worthwhile to do, and I have nothing but positive things to say about Mark Lewis and the way he pushed us in all aspects when tracking that record. We were even initially considering going back to him for this new album, but once the songs started coming together it became readily apparent that the vibe of the material better lent itself to the kind of studio approach we employed on Lesions of a Different Kind and It’s Time…to Rise from the Grave, which is something darker, rawer, and less fussed over. I think the magic of those first two records largely comes from how tightly we prepared the songs versus how relaxed we were when we tracked them, and we thought this new album would shine the best if we returned to that approach. When we realized that going back to Mark probably didn’t make the most sense for these songs, Colin was the very first name we thought of. Not only do we love the bands he plays in (Krallice, Gorguts, don’t make me list them all as much as I’d love to), but his production has been something we’ve admired from afar as fans since long before Undeath was a band. Thankfully he was happy to work with us, and it was a terrific experience top to bottom. When screws needed tightening he wasn’t afraid to crack the whip and offer creative and technical advice, but for the most part he just let us do our thing and rip through the songs, which is a perfect working dynamic for us. The whole album took about two weeks and a couple days to track, which is about as long as It’s Time… took, only I think we’re a much, much more seasoned band at this point. We’d get up every morning, drink some coffee, get to work, wrap up around 8 or 9 at night, smoke some weed, play some tetris, maybe drive out to the local bar and bother the townies (shout out to The Pour House), and go to bed ready to do it all over again the next day. It was wonderful. When you’re recording you just want to get it the fuck over with so you can finally listen to the songs you’ve been practicing for so long, you know? Colin let us do that, and he helped us sound natty and brolic in the process.

What can you tell us about what you have planned for the album’s cover art?

[Drummer] Matt [Browning]’s painting it as we speak, although by the time this runs I’m sure it’ll be done (and if it’s not…god help him). It’s going to be sick. He showed us sketches of what he had in mind and I’m sure it’s going to be another masterpiece born from his perverse and twisted mind of madness.

At what point did Relapse come into the picture and what pointed you in their direction as opposed to other prospective labels?

I guess it’s kind of a long story, but I’ll do my best to summarize. As soon as our deal with Prosthetic ran its course we started talking to all sorts of labels. Some of those conversations were great and went on for a while, but nothing really seemed to be clicking in an organic way. We all were looking for that a-ha moment where you’re talking to someone who wants to sign you and it really feels like they have a genuine understanding of where you’re coming from and where you’re trying to go, and it just wasn’t happening in the way we were hoping for. Sometimes we’d talk to an individual at a label and while it would seem like while they were stoked about us, the label they worked for wasn’t on the same page (someone even told me that we should consider changing our logo to something more legible, which…I guess everybody’s got a first day at Death Metal School). Finally, when I was totally burnt out on the whole process, I started thinking about labels I loved when I was a kid who a) were still around, b) were still doing cool shit and c) still possessed a real contextual understanding of the death metal we make, and Relapse leapt into my mind immediately. They’ve also signed a bunch of bands I love in the past couple years like Poison Ruin, Malthusian and Warning, which is exciting to me. I felt stupid for not thinking of them sooner, but in the back of my mind I guess I thought they were too cool for us and would break my heart if I reached out – haha. I shot them a line on a whim and, much to my surprise and delight, they hit me back the very same day and said that not only was the Relapse staff full of Undeath fans, but that they’d be hyped to work with us. We got the ball rolling soon afterwards, and here we are. I didn’t even wait until the ink was dry before I started asking them to send me records either LOL (I needed that Onward to Golgotha box set, sue me).

With a new label and team behind you, what are you hoping for with this album and cycle that may have felt unattainable in the past?

We’re all just excited to work with a label with skin in the game and decades of credibility under their belt, and one who’s actively invested in us and wants us to succeed. Prosthetic signed us off a demo when we were three guys in Rochester who didn’t have a pot to piss in, and I’m grateful for that, but that relationship was solid for us until it wasn’t, you know? I think once they realized we weren’t planning on re-signing and wanted to explore what else was out there they really took their foot off the gas at a very crucial time for us (while also planning on selling the label), which really rubbed us the wrong way. It is what it is, and I’m not going to mudsling about it, but I can already tell for the few months we’ve been on Relapse that they’re the kind of label who’s going to push us, get us out there, and help us through doors that weren’t available to us before. I’d love to get over to Europe again and do many more of those big metal fests, and when I brought that up in our early conversations with Relapse, they laid out a whole roadmap for how we could do that. It’s stuff like that where you can point to it and say “these aren’t just empty promises – this is a label with plenty of experience with bands like us who know how to help us reach our goals” that makes all the difference. We all want to take this thing as far as we can and we’re not getting any younger, so it feels great to have a stable foundation under our feet and a fresh tank of gas for the first time in a while. And maybe if I ask nicely they’ll take me into the vault and show me the safe they keep the Through Silver in Blood first pressings in. And when they’re not looking I’ll swipe one.

Wherever the Relapse vault is, we hope it matches up with one of the dates on the band’s upcoming tour and that Jones is welcomed with open arms and doesn’t have to resort to swiping. The rest of y’all, come on out and enjoy Undeath along with Archspire, Crown Magnetar and Mutilation Barbeque:

The post UNDEATH Sign to Relapse, Record New Full-Length LP appeared first on Decibel Magazine.

“Get To It” & “Regenerate” are now streaming.

The post Quicksand Announce Fifth Album “Bring On The Psychics”, Debut Two New Tracks appeared first on Theprp.com.

Posted on April 23rd 2026, 3:00p.m.

Blues-infused alt rock duo When Rivers Meet have released the official video for their new single “The Script,” the latest track from their forthcoming album Rhythm Rust & Static, due out May 29.

A rallying call centered on resilience and self-determination, “The Script” follows the album’s lead single “The Tide Is Turning” and continues to showcase the band’s evolving sound.

“This one feels very personal to me,” says When Rivers Meet’s Grace Bond. “It’s about that voice that creeps in telling you how things are going to go and choosing not to believe it.

“I love the idea that nothing is set in stone. The script isn’t written yet and that means I still get to decide.”

Husband and bandmate Aaron Bond describes the track as a defiant anthem rooted in perseverance.

“There’s a real sense of defiance in this song,” he adds. “Not aggression — just standing your ground when things feel uncertain.

“The line ‘don’t give in to fear’ really says it all. It’s about holding steady and writing your own ending.”

When Rivers Meet continue to build their career independently, having achieved two Official UK Charts Top 10 albums without the support of a label, management, or booking agent. The duo recently welcomed their first child in March and plan to bring their newborn, Bobby, along for their upcoming summer tour.

“A big part of our story is the independent side of what we’ve built,” adds Aaron.

“We’ve turned down major record deals along the way because we’ve always wanted to stay independent and follow our own path.

“When Rivers Meet has never followed the music industry rulebook. We’re proud to go our own way.”

The new single builds on the momentum of “The Tide Is Turning,” as the band shifts toward a more stripped-back and intimate direction following the release of 2025’s Addicted To You.

“With our previous album, Addicted To You, we leaned into a much bigger, more produced sound,” explains Grace.

“When we started thinking about the next album, though, we felt drawn to something a little more raw and intimate.”

The duo enter this next chapter following three consecutive Band Of The Year wins at the UK Blues Awards, along with extensive touring across the UK, US, and Europe. They also previously received Planet Rock Radio’s Best New Band award in 2021.

“When Rivers Meet has never followed the music industry rulebook,” adds Aaron. “We’re proud to go our own way and The Script is a manifesto for doing just that.”

“The Script” is out now on all digital platforms.

2026 Rhythm Rust & Static Tour Dates:

July 23 – Colchester, Arts Centre
July 24 – Tunbridge Wells, Forum
August 7 – Barnard Castle, The Witham
August 8 – Newcastle, The Cluny 2
August 21 – Cardiff, Acapela
August 22 – Guildford, The Boileroom
September 3 – Huddersfield, The Parish
September 4 – Galashiels, MacArts
September 5 – Edinburgh, Voodoo Rooms
September 6 – Aberdeen, Lemon Tree
September 17 – Bristol, The Fleece
September 18 – Norwich, Arts Centre
October 1 – Newbury, Arlington Arts
October 2 – Northampton, Black Prince

The post When Rivers Meet unveils “The Script” appeared first on Blues Rock Review.

Sexcuse me, bohabs, but say it loud with me so everyone can hear it — FUCK CANCER. It’s a brutal scourge and unfortunately, another one of our own has been affected. This time, it’s GWAR founding member and human slave to The Sexecutioner, Chuck Varga.

It’s a shitty situation and we don’t know what he’s been actually diagnosed with, but cancer is cancer. He’s one of the approximately two million Americans that will be diagnosed with cancer in 2026. But what his friends in GWAR have is the platform for some potential good. Hence the beginning of a nationwide blood donation campaign that’s been launched in Varga’s honor.

GWAR is asking fans, bohabs, and everyone with the ability to understand this article to go out and donate blood. All you gotta do is head to a blood bank near you, register as donors or give in Chuck’s name. Do that and you’ll get a free exclusive t-shirt designed by Varga.

Aside from his time with GWAR, Varga is a sculptor, set designer, and rock artist by trade. His work has directly affected GWAR’s theatrics not only in the sculpts and art he’s done, but he’s also co-founded the band’s Slave Pit Studios in Richmond, Virginia back in the 1980s.

Varga eventually left GWAR in 1997 to pursue a career on Broadway, film, and television up in New York City. Though he would sometimes perform with the band over the years, he ultimately retired from that part of his life in 2021.

So if you have the ability to donate, consider doing so. You won’t just be helping Varga, but the millions of people affected by cancer, too.

The post GWAR Founding Member is Battling Cancer, Nationwide Blood Donation Effort Launched appeared first on MetalSucks.

With Ronnie Romero releasing his solo album Backbone last October and completing a tour with Primal Fear just last month, attention now turns to Evolution, the new album from Elegant Weapons, due out tomorrow. Known for a classic yet powerful Metal voice, Ronnie has the range to inspire thousands, but his influences may surprise some.

I grew up listening to more melodic singers,” Ronnie Romero told MetalTalk in Part One of this interview. “That’s something that the people don’t normally know about me. My father rests in peace, was a huge fan of classic rock music, especially from America. So I grew up listening to Journey, Kansas, Boston and all those more melodic bands.

“I was introduced to hard rock and Heavy Metal in my youth when I was 14/15 years old. So for me it’s really challenging, and I really love to sing more melodically and with a clean and soft voice. It’s really fun.”

Ronnie’s grounding in melody has defined the kind of musicians he connects with. That instinct for space and musicality becomes especially clear when he talks about the guitarists he had worked alongside.

Working with guitarists of the calibre of Richie Blackmore and Michael Schenker, Ronnie talks of a special chemistry. The relationship with Richie Faulkner shines on Evolution, and Ronnie talks of similar feelings working alongside all three.

“These are the kind of players that are not shredders,” he says. “They serve the guitar for the music and for the song, and that makes a singer’s work very easy. Because it’s not like you get only a little space in between licks. It’s a special chemistry and a special connection. I really love to work with him [Richie], and he is really good at doing that. He has all this influence from Schenker and all the old guys, but it still sounds very modern somehow. I think it’s very special in that way.”

That sense of musical understanding goes beyond technique. For Ronnie Romero, the connection with players like Blackmore, Schenker and Faulkner is rooted just as much in personal chemistry as it is in musicianship.

Talking with Ronnie, it is clear where his passion for collaboration lies, and the same is obvious in working with guitarist Jose Rubio on the solo album Backbone.

“I always try to work with people that I really love to hang around,” Ronnie says. “That’s the main reason for me. It’s not to get hired or hire people that are gonna do the job and see you in 3 months, and there’s no personal connection.”

Given Ronnies’ aim to make organic music, this is even more important. “It doesn’t always need to be a close friendship. I’m very lucky that everybody I work with are my friends. It doesn’t happen very often. Even Blackmore and Schenker.

“It’s funny because all the time I get this question, ‘Is it really hard to work with Richie? It’s probably very difficult, blah blah.’ I always had a great relationship with him. Same with Michael, same with Richie Faulkner, same with Jose [Rubio]. We’re friends, we enjoy playing together, and I think it elevates the performance.”

That mindset carried directly into the making of Backbone, where Jose Rubio played a central role in shaping the album’s sound.

Guitarist Jose Rubio was very important to the Backbone album. It is a great album. Jose’s mixing and mastering took the traditional classic rock sound and gave it a high-end renovation. The album was received very well, which Ronnie Romero says surprised him.

“It was great,” he smiles. “I didn’t expect that. We had a good reception with the first one [Too Many Lies, Too Many Masters]. For the writing and recording of the second album, I wanted to try something a little bit more straight, hard rock and close to the Dio solo material and Black Sabbath.

“I was a little bit afraid of how the people were gonna receive the songs because on the first album they were more dynamic and faster, and it was more like Heavy Metal.”

With that shift in direction, the real test was how the songs would land in front of a live audience.

Last month’s shows in the UK were the first time the new songs had been played live “I didn’t expect that the people were gonna like the songs that way,” Ronnie says. “There were a couple of songs [in the set] that were not even singles on the release, and people were cheering, and they were singing the lyrics.

“So that’s very satisfying. I was surprised because I didn’t expect that, but I’m very happy with the result. It’s the right path. I’m not in a hurry. I know that it’s a long way to the top. But I’m very happy with the results so far.”

That connection with audiences reflects Ronnie’s broader songwriting approach, keeping things direct, honest, and built for the stage.

MetalTalk said that Backbone had all the hallmarks of Ronnie Romero making an all-out statement of intent. Running Over is a real highlight, and we wrote that if the term ‘smash hit’ still existed in the hard rock world, then this has it written all over it. Ronnie smiles.

“We wanted to do music easy to listen,” Ronnie says. “I didn’t want to go complicated. I didn’t want to go overproduced or do something that’s really hard to digest. This is rock music that we should go out and play, and the people should put their fists in the air, and that would be perfect for me. I think we accomplished it in that way.”

Running Over was not a track that was in the Ronnie Romero setlist when they hit London, but of course, it is not me picking the songs. It was a 45-minute set, and as Ronnie says, they had to play songs from the previous album as well. “It’s not a Ronnie Romero show if we don’t play Rainbow.”

While Backbone leans into simplicity and impact, it also brings Ronnie into collaboration with some of rock’s most respected songwriters, adding another layer of legacy to the project.

Among the other contributors, Roy Z rebuilt Bruce Dickinson’s solo career, and Russ Ballard has written hits for many decades. When he is in a room with these kinds of people and that much history, how does Ronnie Romero make sure the results still sound like him rather than the greatest hits of their influences?

“I would say thanks to Richie Blackmore,” Ronnie says. “I got used to it, to be around legends. But also, Russ and Roy are good friends of mine. I met Russ in London in 2017 when he was invited to The 02 with Rainbow to do a couple of songs with us. We kept in contact.

“With Roy, he has Latin roots as I have, so he was always in contact with me. He was speaking Spanish, always telling me we need to do something together, brother. We need to do something in Spanish. When I was writing the album, I thought maybe I could take advantage of that friendship (smiles) and do a couple of songs with them.

“I think it’s fantastic. I’m not gonna say how skilled Russ Ballard is at writing music. He wrote music for so many great artists, and so I was a little bit afraid when he sent me the song, because I thought I needed to reach at least close to the level.

“But he was very happy with the result. We didn’t really touch the song much from the original. We did it a little bit harder, in terms of sounds. More like a rock song. He was very happy. He came to Madrid to record a video clip and all, so he was very happy with the collaboration.”

With collaborations spanning generations, Ronnie’s focus now returns to where that music truly comes alive, the stage.

Backbone and the recent short tour with Primal Fear have given Ronnie Romero the desire to get back in the UK soon for a headline tour. “The UK was always special for me,” Ronnie says. It was the shows with Rainbow that helped cement this.

“We have this connection. Obviously, everybody loves Rainbow there, and for me, the UK and Germany are my main markets, I would say, because of the Rainbow thing. It’s always great to go there.”

“We’re gonna come back as a headline tour for sure.”

That return may come after commitments with Elegant Weapons, but it is clearly already on the horizon.

“Because we are live performers,” Ronnie says. “We love to record music. I think all the energy is on stage, and we love that. We love to go on tour and especially going together with Richie, Dave [Rimmer], and Chris [Williams].

“We became good friends on the first tour we did. We have a lot of memories and stories. We need to wait until after Judas Priest plans this year, of course, because we respect that. Judas Priest is Richie’s main band.

“But yeah, we’re looking forward to it. Probably at the end of the year, we would do a couple of things and then probably next year, a full tour.”

Tomorrow, we delve fully into the excellent new album from Elegant Weapons, Evolution, with Ronnie Romero. You can read my review here.

You can find out more about Backbone via ffm.to/rr_backbone.

Elegant Weapons release Evolution digitally and on CD on 24 April 2026 via Exciter Records, with a special edition vinyl pressing to follow later in the year. You can pre-save and pre-order Evolution from https://exciter-records.ffm.to/elegantweapons-evolution.

You can read the MetalTalk Elegant Weapons interview with Richie Faukner here: Part One and Part Two.

The “Metal Gods” of thrash are officially reclaiming their throne in Southern California. Due to what promoters are calling “overwhelming demand,” Slayer has added a second 40th-anniversary headline performance of their masterpiece Reign In Blood at the Kia Forum in Los Angeles. After the initial November 13, 2026, date sold out instantly during presales, the band has locked in November 14 to satisfy the legions of fans hungry for their first hometown headline shows in seven years. These performances stand as the only West Coast dates where the band will perform the 1986 classic in its entirety.

Los Angeles Blitz: Two Nights at the Kia Forum

The addition of the November 14 show marks a significant milestone for the reunited lineup of Tom Araya, Kerry King, Gary Holt, and Paul Bostaph. While Slayer has made select festival appearances since their 2024 return, the Los Angeles residency represents a homecoming of sorts.

Fans attending the first night (Nov. 13) will be treated to a brutal opening package featuring Cannibal Corpse, Cavalera, and Crowbar. Support for the newly added second night is expected to be equally heavy, as the band celebrates four decades of an album Kerrang! once dubbed “the heaviest of all time.”

Get your 2026 Slayer tickets at this location.

Exclusive ‘Reign In Blood’ Anniversary Run

These Los Angeles dates aren’t just standard concerts—they are part of an ultra-exclusive three-date U.S. headline run. Aside from the Kia Forum, the only other city slated to witness the full Reign In Blood album performance is Shakopee, Minnesota, at the Mystic Lake Amphitheater on September 4, featuring support from Down, Suicidal Tendencies, and Hatebreed.

While the band is scheduled for various festival appearances throughout 2026, those sets will feature a rotating career-spanning list of hits. Only at these headline shows will the “pure ferocity” of the 28-minute thrash masterpiece be unleashed from start to finish.

We Also Recommend – Every SLAYER Album Ranked From Worst To Best: The Final Verdict

The Legacy of a Thrash Masterpiece

Released on October 7, 1986, via Def Jam Recordings, Reign In Blood was the band’s first collaboration with producer Rick Rubin. The album famously faced massive delays and controversy due to its graphic artwork and the lyrical content of the opening track, “Angel Of Death.” Despite being initially rejected by distributors, the album became Slayer’s first to break the Billboard 200 and eventually achieved RIAA Gold certification. As guitarist Kerry King famously noted, the album captured the band in its “pure ferocity,” a sound that drummer Dave Lombardo still describes as the “epitome of thrash music.”

Make sure to tune in to the Loaded Radio 24-hour heavy metal stream and catch the Loaded Radio Podcast every week for unfiltered, high-octane interviews with the biggest names in hard rock and metal.

Check This Out – Metallica and Megadeth Got the Fame, but Slayer Got the Future: Why ‘Reign In Blood’ Wins the 1986 War

TL;DR:

Slayer has added a second “Reign In Blood” 40th-anniversary headline show at the Kia Forum in Los Angeles for November 14, 2026, following an immediate sell-out of the first night. Alongside a September date in Minnesota, these are the only U.S. shows where the band will perform the iconic 1986 album in full. Tickets for the new Los Angeles date go on sale to the general public Friday, April 24.

The post Slayer Double Down on Destruction: Second Los Angeles ‘Reign In Blood’ Anniversary Show Confirmed After Massive Sell-Out appeared first on Loaded Radio.

 Slowhole, Moloch & Fatalist – Boom, Leeds, 11.04.26

Manchester trio Fatalist (7) play a kind of metallic post-hardcore that’s direct, insistent and alive with tension. Bass player Mat Smith grips the neck of his guitar like he’s trying to rein in something that’s almost out of control, a wide-legged stance with one foot anchoring the mic stand to prevent it being blasted away by his livid screaming. Drummer Phil Giles punctures the songs with vertiginous rolls that introduce a welcome shade of abstraction. Mid-set, one song seems to momentarily fracture and splinter before recoalescing around it’s purpose.

Although pretty quiet over the last few years, Nottingham sludgy doom quartet Moloch (9) are coming up on their 20 year anniversary. Despite their lengthy hiatus, they’re still one of the best bands in the country and yet remain criminally overlooked outside the close knit DIY community. Just released third album Bend.Break.Kneel.Crawl is another howl of screaming guitars and anguished vocals and proves the band has lost none of its potency since the previous album in 2018. The bands music possesses a formidable forward propulsion that’s full of weighty foreboding, and it all seems to be channelled through and out of singer Chris Braddock’s wide eyed stare and shredded throaty screams. The quieter passages only serve to amplify the crushing power of the noise when it resumes. Magnificent.

If you navigate music by genre, New Orleans quintet Slowhole (8) may present a few problems. All the songs are set against a backdrop of relentless feedback and effects noise from guitarists Dante Galliano and David Hunter. The individual songs generally proceed at a slow grinding pace, occasionally erupting into brief bursts of frantic thrashing, with vocalist Shannon Arsenault’s treated shrieking adding a human element to the noise, although it’s impossible to tell what she may be singing about. The anguish and turmoil in the voice may need to be enough. 

The band perform in near darkness and don’t move around much, so there’s not much of a visual stimulus to provide a focus. As far as the music is concerned though, if you need reference points, try mashing together the slowcore of French doomsters Monarch, pure unhinged harsh noise, and the occasional dollop of hardcore velocity. Although it’s hard to get a handle on what’s going on half the time, the band clearly know what they’re doing. 

Mid-set a guitarist breaks a string, leaves the stage to get a replacement and calmly restrings and retunes, while the rest of the band equally calmly fill in with an improvisation that manages to fit seamlessly with what came before and what comes after. Although I spent most of the set trying to figure out was was going on, there’s no doubt that just now this band have got hold of something that’s startlingly different, and seeing Slowhole again at the next available opportunity would be a no-brainer.

 Slowhole, Moloch & Fatalist – Boom, Leeds, 11.04.26

Manchester trio Fatalist (7) play a kind of metallic post-hardcore that’s direct, insistent and alive with tension. Bass player Mat Smith grips the neck of his guitar like he’s trying to rein in something that’s almost out of control, a wide-legged stance with one foot anchoring the mic stand to prevent it being blasted away by his livid screaming. Drummer Phil Giles punctures the songs with vertiginous rolls that introduce a welcome shade of abstraction. Mid-set, one song seems to momentarily fracture and splinter before recoalescing around it’s purpose.

Although pretty quiet over the last few years, Nottingham sludgy doom quartet Moloch (9) are coming up on their 20 year anniversary. Despite their lengthy hiatus, they’re still one of the best bands in the country and yet remain criminally overlooked outside the close knit DIY community. Just released third album Bend.Break.Kneel.Crawl is another howl of screaming guitars and anguished vocals and proves the band has lost none of its potency since the previous album in 2018. The bands music possesses a formidable forward propulsion that’s full of weighty foreboding, and it all seems to be channelled through and out of singer Chris Braddock’s wide eyed stare and shredded throaty screams. The quieter passages only serve to amplify the crushing power of the noise when it resumes. Magnificent.

If you navigate music by genre, New Orleans quintet Slowhole (8) may present a few problems. All the songs are set against a backdrop of relentless feedback and effects noise from guitarists Dante Galliano and David Hunter. The individual songs generally proceed at a slow grinding pace, occasionally erupting into brief bursts of frantic thrashing, with vocalist Shannon Arsenault’s treated shrieking adding a human element to the noise, although it’s impossible to tell what she may be singing about. The anguish and turmoil in the voice may need to be enough. 

The band perform in near darkness and don’t move around much, so there’s not much of a visual stimulus to provide a focus. As far as the music is concerned though, if you need reference points, try mashing together the slowcore of French doomsters Monarch, pure unhinged harsh noise, and the occasional dollop of hardcore velocity. Although it’s hard to get a handle on what’s going on half the time, the band clearly know what they’re doing. 

Mid-set a guitarist breaks a string, leaves the stage to get a replacement and calmly restrings and retunes, while the rest of the band equally calmly fill in with an improvisation that manages to fit seamlessly with what came before and what comes after. Although I spent most of the set trying to figure out was was going on, there’s no doubt that just now this band have got hold of something that’s startlingly different, and seeing Slowhole again at the next available opportunity would be a no-brainer.