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The new single/video, “Eclipse”, from post-metal ensemble Lost In Kyiv is out now. The song serves as a second taste of their next long player We’re All Going To Be Fine, due out on June 19th via Pelagic Records.
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Hailing from County Cork, Ireland’s Soothsayer have been weaving their spells of atmospheric doom and sludge metal since 2013. Over the course of two EPs, a split release, a live album and the highly regarded full length studio album, Echoes Of The Earth, the band have cemented their reputation as one of the Emerald Isle’s most important underground […]

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Posted on April 21st 2026, 5:17p.m.

Oathbreaker seemed destined for greatness after the release of the superb Rheia. Then the band went on a near-ten-year hiatus. But why?

Destruction of the Healer return with Bestial Hunger, the first single from their upcoming full-length record A Universe Bereaved, due out in full July 9. This first single marks a decisive move for the band into a more brutal and technical sound, a dense, suffocating instrumentation delivered with precision, intensity, and an unfiltered edge. There’s […]

A night at the opera.

The post Devin Townsend Premieres “Home At Night” Music Video appeared first on Theprp.com.

Finnish melodic metal act After Infinity return with “Beyond Eternity“, a sophomore release that consolidates and expands the project’s identity with a sharper focus on compositional depth, vocal diversity and emotional range. Conceived and led by guitarist and songwriter Zsolt Szilagyi, the album builds on the foundation of the band’s 2024 debut, pushing further into progressive […]

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Morgan Wallace is a member of the wild London post-punk band Fat Dog. She also fronts her own band called Morgan Noise, performing music with through lines to rock, jazz, and experimental pop. Or at least those are the vibes I’m getting from “Geneva,” the band’s new single out today. I hear traces of Nilüfer…

The post Morgan Noise – “Geneva” appeared first on Stereogum.

Sink into Portrayal of Guilt‘s pummeling Total Black single – the final preview ahead of their experimental new album …Beginning of the End which sees its release this Friday via Run For Cover/Civilians. Their fourth studio album embraces both the groove and avant garde, revisiting the raw, teeth-gnashing intensity of their previously revered work while […]

I’ve gone back and forth about how to introduce The Ghost of a Future Dead, the eighth full-length by legendary Swedish death metal innovators At The Gates, the first with the returning Anders Björler back on lead guitar and songwriting duties (along with his twin brother, bassist Jonas) and also the final album featuring the late, great Tomas “Tompa” Lindberg, who sadly succumbed to a rare-but-super-aggressive bout of cancer in September of 2025. This introductory paragraph (and review) has been typed, deleted, reworded, deleted, approached differently, deleted, etc. so many times that I’ve lost count and given myself a colossal migraine in overthinking, over-evaluating, and over-justifying. But there comes a point where, in my month of listening to this, you have to say “fuck it,” and proceed in the direction that your gut, heart, and ears are guiding you towards. I will simply state that The Ghost of a Future Dead is many things.

What it’s not, however, is a pity party. Like anyone else with a conscience and heart, I was devastated to read about what Lindberg went through over the last few years with his battle against Adenoid Cystic Carcinoma, and was heartbroken when he died after a bravely-fought battle. You wouldn’t know he was struggling upon listening to the album, however, as Lindberg was in fine form here. His delivery has never been this potent, this acidic, with lead-off single “The Fever Mask” demonstrating his caustic delivery just fine. Elsewhere, “Det oerhörda,” the first At The Gates song written entirely in Swedish, further channels Lindberg’s rage and intensity. The fact that he performed all his parts, in one day and mostly in one take on the day before his surgery, before his bandmates even recorded anything is nothing short of impressive, as it doesn’t sound like it at all.

Speaking of his bandmates, to say they all brought their A-game would be a grotesque understatement. To be frank, this is the At The Gates album I was craving when they first reunited back in 2010.¹ Everyone went all-out, and the results are ridiculous. Both Björler brothers and fellow guitarist Martin Larsson hurl riff after monstrous riff at you, but also know how to construct some damn fine harmonies like on “The Fever Mask” and “A Ritual of Waste.” As for Adrian Erlandsson, his fills and embellishments border on the criminal. I’m sure the rather obscene breakdown section of “The Unfathomable” is considered illegal in most countries, with Erlandsson incorporating a well-placed ride cymbal “TING!” at just the right time² to send people into a pit-inducing frenzy. In fact, with the exception of moody instrumental “Förgängligheten,” The Ghost is just fire and rage from beginning to glorious end, and all four instrumentalists paid loving, yet visceral, tribute to a fallen bandmate and brother on here.

The Jens Bogren production also elevates The Ghost into the upper echelons of At The Gates’ discography. Both the guitars and the drums radiate a profound heft and clarity. Speaking of clarity, being able to make out Jonas’ basslines is much, much appreciated, as he can play his ass off. Also speaking of Jonas, one thing I noticed was the more progressive leanings that he incorporated on To Drink From the Night Itself and The Nightmare of Being are still present at times, like on “The Dissonant Void,” might be reduced significantly, but they’re present and better incorporated, leading to a better impact overall. For 42 minutes and some change, The Ghost is the sound of everyone firing on all cylinders.

Full admission: everyone behind the scenes at Angry Metal Guy wanted to hear The Ghost of a Future Dead, but nobody wanted to review it. If it sucked,³ no one understandably wanted to say as much. If it were legitimately good, people would say that it’s said out of grief, trying to fit in with established publications, or some other bullshit reason. In this case, since it goes toe-to-toe with their best work (and in some ways surpasses them), it’s all those reasons plus receiving an unnecessary amount of grief from the comments section, crying about the audacity of giving it the score it ultimately received, despite all justification on my part. So I’ll take it on the chin for the team and state that yes, The Ghost of a Future Dead deserves the score due to the quality, ferociousness, and heart on display. If this ends up being At The Gates’ swansong,⁴ this is a hell of a way to go out, as they dropped another classic on our sorry asses. Awesome job, to all those involved. Rest in power, Tompa.

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Rating: 5.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Century Media Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026

The post At The Gates – The Ghost of a Future Dead Review appeared first on Angry Metal Guy.