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Decibel Magazine today unveils the carnage of I HAIL I, the first new album from Chicago’s ultimate destroyers LAIR OF THE MINOTAUR in sixteen years, ahead of its release this Fridayon their own The Grind-House Records. LAIR OF THE MINOTAUR’s first album since 2010’s acclaimed Evil Power, I HAIL I sees founding guitarist/vocalist Steven Rathbone (7000 Dying Rats) reunited with longtime […]

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Today, American black metallers Oldowan Gash stream the entirety of their highly anticipated second album, 1000 Dreams of War, at the Rites of Pestilence YouTube channel. Set for international release on April 30th via Amor Fati Productions in conspiracy with Feral Heart Productions – Amor Fati will handle the CD and vinyl versions while Feral Heart will handle the cassette version – hear Oldowan Gash‘s 1000 Dreams of War in its […]

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It’s impossible to overestimate the influence Robert Fripp‘s “Exposure” has had on a multitude of artists since its release in 1979, and the amount of work which went into that album was immense, as the massive “Exposures” box set demonstrated … Continue reading →

The post Out Now: Robert Fripp’s “Exposure” Sessions With John Wetton And Phil Collins appeared first on DMME.net.

Fat Concubine: EMPIRE/ROOOAAAR Ahead of the release of their latest single, ROOOAAAR, and following their debut EP, EMPIRE, Louder Than War talks to  FAT CONCUBINE about their philosophies on the dissonant beauty of life, swing-as-punk, the unsettling allure of techno parties in all their exotic, tribal arrangement and the group’s quickly unfurling trajectory as one […]

The post FAT CONCUBINE: EMPIRE/ROOOAAAR – Interview & Review appeared first on Louder Than War.

With a practicing witch as a vocalist, WitcheR really do practice what they preach

Posted on April 30th 2026, 12:45p.m.

A misshapen, gangly, but dangerous creature once roamed the alleys and backways of Chicago, hunting for prey. Lair of the Minotaur was that altered beast, and it trafficked in a skin-melting brand of sludge-crust-thrash that was raw for the sake of rawness and heavy enough to crush a bus full of anvils. Featuring members of Serpent Crown, Nachtmystium, and Vanishment, Minotaur was loaded with seasoned, angry fiends, and on albums like The Ultimate Destroyer and Evil Power, they set out to pulverize the populace with a savage, nasty sound and an attitude that screamed: “Taste the floor, poser!” Since 2010s Evil Power, it’s been pretty quiet at Camp Bullhead, but 2026 sees them roaring back to seize the means of noise production from the soft pretenders who call themselves metal heads these days. On I Hail I, they unearth their loud, caustic, abrasive-as-fook sound and inject it with MOAR juice for 30 minutes of sonic abuse and humiliation. Is this a good thing?

It doesn’t take long to figure out the answer. Opener “Emperor of Dis” is 2 minutes of rough, filthy sludge-crust that sounds like Entombed had a gigantic baby with Black Royal and then let Biohazard raise it in the mean streets. The riffs are massively heavy, and the chugs are utterly brainless but so fucking awesome. I wish the song were 3 minutes longer, and when do I say shit like that? The title track unveils a ridiculously raw guitar tone that sounds like a busted bandsaw, and then grinds your privates with it for 2-plus minutes. It’s beautiful misery and borders on industrial noise. “Fucked Inside Out” is a weirdly accurate descriptor for how this track sounds, taking Entombed’s Wolverine Blues blueprint and upping the ante considerably for a rowdy, uncouth piece of absolute sewage. It’s the roughest 1:39 you’ll spend this year unless you fall into an industrial meatgrinder, and even then it’ll be close.

When “Saturnus Reign” comes around, you know these goons are deadly serious about this comeback. This is straight-up obscenely heavy death-doom with one boot on your throat and the other up your ass. That repeating, oppressive riff that kicks off at 0:48 is a fucking world eater that Bolt Thrower should have come up with in the 90s, and it’s going to destroy your fat face. When it drags to a halt only to jump back to life when Steve Rathbone roars, “Seventh Gate!”, it’s a special moment. 7-plus minute closer, “Tartarus Apocalypse” is another massive piece of old school death-doom with monolithic riffs that reek of Triptykon, and they’ll crush you into ass pulp in short order. With so much winning, what could possibly go wrong? Well, the cover of Southern Gothic vocalist Ethel Cain’s “Family Tree” refashioned as a scalding, Darkthrone-esque black metal piece is inspired but doesn’t really fit with the rest of the album. Follow-up cut “Vulture Worship” is a weird semi-techno, electronica-meets-synth-death experiment that doesn’t really work either. “Deepest Hell” is plenty heavy but doesn’t have the same visceral impact as its better album-mates. With 3 misses on a 30-minute album, that leaves a significant bruise. Still, the good is really fooking good and most of I Hail I will wax your ass with lava!

Steve Rathbone’s guitar tone and collection of bullying, harassing riffs sell this shit like wagyu beef smoothies at a honey badger convention. I’ve been getting oppressed by them for a week, and I keep coming back for more because MOAR. This is just ludicrously heavy, unpolished metal played at volumes unsafe even for dead things. Add to the fracas Rathbone’s hoarse roaring and guttural croaking, and things start to sound like a lunatic asylum in Hell. The dude can howl and bellow with enough conviction to get him a 72-hour psych hold, and that might actually do him some good. Sanford Parker (ex-Nachtmystium) assists Rathbone with the flesh tenderizing with his fat, thrumming low-end bass work that fills every gap with rancid sludge as Kristopher Wozniak pounds away on his kit like a meth-fueled baboon (pronounced bab-BOOM). It’s a huge, loud, chaotic dump of an album,¹ but Sanford Parker did his magic as a producer and made it all palatable to the senses somehow. The guitar tone he captured here alone should earn him a Producer o’ the Year nomination.

I Hail I is a wild, weird ride through burning garbage and melting excrement. It wanders places it shouldn’t, but when it arrives at its proper destination, it will fucking kill you. I guess I shouldn’t be surprised that the same guys who wrote, “Let’s Kill These Motherfuckers” can still bring the hammer down forcibly. Lair of the Minotaur have returned, and the impact crater they left behind is prodigious. Listen with caution while this thing tries to gut you like a slimy fish. Hail yourself.

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Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: The Grind-House
Websites: lairoftheminotaur.bandcamp.com
Releases Worldwide: May 1st, 2026

The post Lair of the Minotaur – I Hail I Review appeared first on Angry Metal Guy.

ARROGANZ state their brutal musical intent with the eponymous track of their forthcoming new album “Death Doom Punks” in the shape of a lyric video. The seventh full-length of the rebellious German death doom punks has been scheduled for release on May 15, 2026. Pre-sale link: https://spkr.store/collections/arroganz ARROGANZ comment: “Here you go, bastards – this one goes out to you, all you awesome death […]

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Nashville blues-infused Southern rockers Parker Barrow return with their first new music of 2026 with their latest single “Blinded” released Wednesday April 29^th. The single is available on all streaming platforms HERE.

The track is part of the band’s upcoming highly anticipated sophomore album Hold the Mash, which is due for release on Friday July 17^th. The album is available to pre-save HERE.

The new album features songs from last year’s Hold the Mash EP, including the singles “Make It,” “Novocaine,” “The Healer,” and “Glass Eyes Cryin’,” alongside four new songs.

“Blinded” was written by Parker Barrow drummer and founder Dylan Turner, along with guitarist and musical director Alex Bender. Parker Barrow will be on the road in the U.S. for much of the summer, before heading to the U.K. in July for the band’s first headline tour, plus performances at the Steelhouse and Maid of Stone festivals.

“It was one of the first tracks written and recorded for the new album,” says guitarist Bender about the new single. “It helped to give a bit of direction to where we hoped to go with the tracks that were to follow. The main riff sounds very Stonesy. I approached the rhythm guitar parts how I would imagine Keith Richards would play them if he was in the band. Blinded is a good example of the less is more approach where the beauty lies in its simplicity.”

Regarding the lyrics, Turner adds, “It’s so easy for us as musicians to be enthralled by the world we live in, seeking validation from likes and comments that feed the flesh rather than the spirit. I wrote this as a reminder to myself to first seek the kingdom and to not forget the bigger purpose.”

Parker Barrow are led by husband-and-wife duo Megan Kane (lead vocals) and Dylan Turner (drums). The band name is taken from Bonnie Parker and Clyde Barrow – the infamous American bank robbers during the early 1930’s Great Depression.

A random encounter in 2019 paired Kane with Turner, who was on the hunt for a new singer. Two weeks later they were on the road together, driven by one goal: making their musical dreams a reality. In 2023 Parker Barrow expanded with the full-time inclusion of guitarist and musical director Alex Bender.

Turner lays down a heavy groove while Kane’s electrifying, soulful vocals soar high over the top.  Bender’s inventive riffs and fiery playing pull it all together, creating Parker Barrow’s signature sound. The band is rounded out by Will Tipton (guitar), Kyle Priber (bass guitar) and Eric Safka (keyboards).

Parker Barrow’s ‘vintage-shop rock’ sound contains elements of rock, southern rock, blues and soul; but the band’s brand of music is unmistakably and distinctly their own. You will find an impressive mix of influences both old and new threaded throughout the band’s sound, including the Rolling Stones, Blackberry Smoke, Allman Brothers Band, Aerosmith, Tedeschi Trucks, the Black Crowes, Whiskey Meyers and Led Zeppelin.

Parker Barrow’s debut album Jukebox Gypsies was released in 2023 to glowing reviews from music press and fans around the world; with the single “Back To Birmingham” racking up over a million YouTube views.

Parker Barrow has earned a reputation for their powerhouse live shows – blending hard-hitting blues, classic rock swagger and modern Southern firepower. The band thrives on connecting with their fans and will continue bringing their message to the people across the US and Europe throughout 2026. Parker Barrow’s music and live shows channel the spirit and rebellion that defines true rock and roll – with no apologies.

The album is available to pre-save HERE

The post PARKER BARROW Release New Single “Blinded” Taken From Upcoming Sophomore Album “Hold The Mash” appeared first on The Rockpit.

Exploring Birdsong may be releasing their debut album in June, but that doesn’t mean there isn’t space for another fun little project in the build-up.

The band have shared a new three-track EP titled ‘Live From The Cottage’, a live stripped-back affair featuring new versions of the upcoming album’s first three singles.

Taking every song apart and rebuilding with piano and keys at the forefront, the result is sensational. A sign of just how strong the songwriting at the band’s core is, whilst adding different inflexions of emotion and energy than what has previously been shown, it’s a chilled-out yet striking 11 minutes of musical exploration. A brilliant little project and one that one-ups the ante as we approach the release of ‘Every House We Built’.

Vocalist Lynsey Ward had this to say about the project, stating, “Deconstructing the first three singles from Every House We Built for this live session has been a fun challenge for us! We’ve spent hours on the details whilst producing the studio versions with Connor Sweeney, so we hope that taking them all the way back to basics will truly connect listeners with the messaging behind these songs. We are so proud of Every House We Built, and we are excited to show Romanticise, 42, and You Like It Best When It Hurts in a new light.”

‘Every House We Built’ is set for release on June 26 via Long Branch Records. The band will be heading out on the road for a string of headline shows later this year. Here’s where you will be able to catch them.

SEPTEMBER

23 – GLASGOW Classic Grand
24 – LONDON Islington Assembly Hall
25 – BRISTOL Strange Brew
26 – MANCHESTER Gorilla

The post Exploring Birdsong Share Stripped Back Session ‘Live From The Cottage’ appeared first on Rock Sound.