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  • Road To Bloodstock 2026: Regicide

    It’s that time of year again where we talk to as many bands as we can who are raring to blow you away at Bloodstock! Regicide will be rocking the New Blood stage on the Friday… Simple things first – where are you guys from? We are from Essex. How long have you been playing … Continue reading Road To Bloodstock 2026: Regicide
  • Hear Fiona Apple’s New Song “Horns Of The Bull” For The TV Series Lucky

    It has now been six years since Fiona Apple released her album Fetch The Bolt Cutters. For anyone else, that would be a long time. But if you’re a fan of Fiona Apple, you’ve presumably made peace with the fact that she goes many, many years in between albums. We shouldn’t expect a new record from Apple anytime soon, either. In a video message last week, Apple said that she’s struggling to write about “this fucking endless barrage of horrors” that she sees in the world around her, though she’s “going to keep trying.” But when things line up just right, Fiona Apple might still write and record a new song.

    The post Hear Fiona Apple’s New Song “Horns Of The Bull” For The TV Series <em>Lucky</em> appeared first on Stereogum.

  • Suffocation – Headlining Shows In Europe Confirmed

    New York death metal veterans Suffocation have confirmed a string of headlining shows in Europe with support coming from Ingested, Eternal and Undeath.
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  • Ma Rainey – The Complete Paramount Recordings, 1923-1928

    Editor’s Note: We invited Nashville artist and blues devotee Sophie Gault to dig into Ma Rainey’s Paramount recordings, arriving as a new box set on July 24. Sitting in the kitchen one summer night, you hear the sound of a muted trumpet leading into a song. It’s accompanied by a slight lingering static. While listening, […]
  • Italian Pop-Punks Feelbacks Release “Welcome To My World Reloaded”

    Italian pop-punk act Feelbacks celebrated a massive milestone on July 3, 2026, with the release of Welcome to
  • Album Premiere: Eaten by Sharks – Undertow of Hate

    Canadian extreme metal crew Eaten By Sharks go deep on new full-length The Undertow of Hate, a crushing, composition-focused plunge into nautical horror, psychological collapse and total oceanic ruin. If 2022’s Eradication established the band’s appetite for progressive death metal precision, deathcore violence and groove-heavy punishment, The Undertow of Hate expands the feeding zone into something darker, moodier and more cinematic.

    Out July 17 via CDN Records, The Undertow of Hate finds Eaten By Sharks tightening the screws without losing the sense of scale. The riffs still hit with blunt-force intent, but there’s a stronger narrative pull this time around: polyrhythmic churn, odd-time lurches, slam-weighted breakdowns and passages that feel less like songs drifting past one another than scenes in a single disaster unfolding at sea. Fans of Fit For An Autopsy, Gojira and Cattle Decapitation should have a pretty good idea of the pressure system they’re sailing into here.

    The band’s recent single “Capsized” set the tone, capturing the moment when calm water gives way to chaos. Across the full album, that chaos becomes the point: transformation, destruction and the ugly realization that once the ship starts going down, nobody is coming to save you.

    “We took time to fully immerse ourselves in the writing process and build a cohesive concept rooted in a single cinematic moment of horror,” the band tell Decibel. “This album reflects a deeper understanding of who we are as artists.”

    Stream The Undertow of Hate in full below.

    The post Album Premiere: Eaten by Sharks – <i>Undertow of Hate</i> appeared first on Decibel Magazine.

  • Bayway share “Run and Hide Bitch” video filmed at Hellfest NJ 2026

    The performance also previews the upcoming official Hellfest 2026 DVD and VHS release

    Source

  • Bureau De Change Drop A Rage-Fueled Post-Punk Anthem

    Bath-based post-punk quartet Bureau De Change is thrilled to announce they have officially signed with the beloved UK
  • “Iggy was in a mental hospital when I first met him.” In 1975, David Bowie introduced a 10-year-old Slash to Iggy Pop in a LA psych ward. He and Dennis Hopper later returned wearing space suits to share a bag of drugs with their friend

    Following the break-up of The Stooges in early 1974, Iggy Pop seemed hell-bent on self-destruction. The singer’s addiction to heroin and cocaine was out-of-control, he had nowhere to live, and his behaviour was becoming ever more erratic, and increasingly alarming to his friends in Los Angeles.

    In 1975, after a number of run-ins with the LAPD for assorted misdemeanours, Pop was given a choice: he could be locked up in a prison cell, or he could ‘voluntarily’ check himself in to a psychiatric ward to seek professional help. He opted for option two, and was committed to UCLA’s Neuropsychiatric Institute under the care of Doctor Murray Zucker. Here he was diagnosed with hypomania, a condition which his biographer Paul Trynka described as a “bipolar disorder characterised by episodes of euphoric or overexcited and irrational behaviour, succeeded by depression.”

    “Hypomanics are often described as euphoric, charismatic, energetic, prone to grandiosity, hypersexual, and unrealistic in their ambitions,” Trynka noted in his excellent 2008 biography, Open Up And Bleed, adding “all of which sounded like a checklist of Iggy’s character traits.”

    Pleased that Pop was getting the help he so obviously needed, friends – including David Bowie – rallied around the singer, and visited him regularly at the facility.

    “Iggy was in a mental hospital when I first met him and so my mum (Bowie’s costumier and fashion designer Ola Hudson) and I and David went to visit,” Guns N’ Roses guitarist Slash recalled in a 1991 interview with Q magazine. “He’s such a fragile, sweet, soulful, honest and sincere guy.”

    At the time, Bowie was facing his own addiction issues, and wasn’t always given to making the best decisions. One example of this being the day that he and actor Dennis Hopper decided to pay Iggy a visit in hospital to share a selection of hard drugs with the singer. For reasons never explained, the pair chose to undertake this well-intentioned but ill-advised mission while dressed in astronaut suits.

    “We trooped into the hospital with a load of drugs for him,” Bowie later recalled. “This was very much a leave-your-drugs-at-the-door hospital. We were out of our minds, all of us. He wasn’t well; that’s all we knew. We thought we should bring him some drugs because he probably hadn’t had any for days!”

    As foolish as this this plan was, Pop would later credit Bowie for his help in getting through what was clearly a traumatic and challenging period of his life.

    “By 1975, I was totally into drugs, and my willpower had been vastly depleted,” he recaled. “But still, I had the brains to commit myself to a hospital, and I survived with willpower and a lot of help from David Bowie. I survived because I wanted to.”