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Architects frontman Sam Carter has released a lengthy and emotional statement responding to comments online that have criticised his recent live performances. In the statement, posted via Sam’s personal social media accounts, the singer acknowledges that he has struggled with his voice at certain points on stage this year, revealing that he has suffered serious anxiety issues as a result of the negative and even abusive responses his performances have received.

“It’s time for me to be honest here, and it’s not going to be easy, as it’s something I’ve worked tirelessly at over the last year,” he says in a post titled ‘Time for some honesty’. “My anxiety and constant focus on my voice has gotten me to a place where the joy of performing has been taken away from me.

“I got to a place where, whenever I go to scream the voice inside my head stops me from being able to do the job that I’ve done for the last 20 or so years.

“Now, this isn’t something that I started. It’s been the online discourse around my voice and the constant judgment that have ultimately led me down a tunnel that I’ve struggled to get out of.”

Sam goes on to point to a particular moment this year where things began to escalate.

“It got really loud after Rock am Ring, where I had a really tough day trying out a new technique in front of 90-odd thousand people.,” he continues “The more I tried, the crueler the comments over the summer got and it led me to a place where I was physically and emotionally shot. My performance anxiety had gotten out of control and I wasn’t able to enjoy anything about the band or being onstage.”

Sam credits David Benites from Extreme Vocal Academy for helping him work on his vocal issues, as well as his bandmates and wife for their support over what has evidently been a very challenging year.

“The comments and the judgment have got too much,” he adds. “I’m a human being trying my hardest up there and some things aren’t going to be perfect. I’m in therapy every week and on medication to help my anxiety. Trust me when I say there isn’t a stone I haven’t left unturned.

“I dreamt of having a ‘Sam’s Back’ moment, but that’s not real life. And maybe this is actually my moment to come back to a life where I’m not thinking about this shit every waking moment.”

Architects will head out on tour across Europe and the UK as support to nu metal legends Korn this month, and Sam pledges to do his best to overcome his struggles.

“On this tour with Korn, I’m going to scream the words from a place of passion and determination,” he promises. “Ultimately, I want to get back to a place where I’m having fun with my friends onstage. It’s not going to be perfect, but I’m not, so that’s that.”

He finishes with a moving final sentiment: “Be kind. You never know what someone is truly going through.”

Architects’ latest single Machine was released last month. The full list of their imminent dates with Korn is below.

A post shared by Sam Carter (@samarchitects)

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Korn European and UK tour dates 2026 (with Architects and Youth Code)

Oct 18 Stuttgart Hanns-Martin-Schleyer-Halle
Oct 19 Munich, DE, Olympiahalle
Oct 21 Cologne, DE, Lanxess Arena
Oct 23 Paris, FR, Accor Arena
Oct 26 Leeds, UK, First Direct Arena
Oct 28 Birmingham, UK, Utilita Arena Birmingham
Oct 30 Newcastle, UK, Utilita Arena Newcastle
Oct 31 Manchester, UK, AO Arena
Nov 2 Dublin, IE, 3Arena
Nov 4 London, UK, The O2
Nov 8 Amsterdam, NL, Ziggo Dome
Nov 9 Antwerp, BE, AFAS Dome
Nov 11 Hamburg, DE, Barclays Arena
Nov 13 Hanover, DE, ZAG Arena
Nov 14 Berlin, DE, Uber Arena
Nov 16 Prague, CZ, O2 Arena Prague
Nov 17 Krakow, PL, Tauron Arena
Nov 19 Vienna, AT, Wiener Stadhalle
Nov 21 Milan, IT, Unipol Forum

British rock sensations JAYLER bring their explosive live show to Lincolnshire on 29th May as they take the Saturday headline slot at Call of the Wild Festival. With arena tours, millions of online views and a rapidly expanding global fanbase behind them, this is a band whose star is firmly on the rise. JAYLER are a […]

The post JAYLER To Headline Call Of The Wild Festival 2027 appeared first on ROCKPOSER DOT COM.

'Narnia' film maker Greta Gerwig details her meeting with Jimmy Page and Robert Plant. Continue reading…

Posted on October 16th 2026, 12:30pm

James Marriott has shared a new track from his upcoming full-length album ‘Warning Signs’, and it is one that’s ready-made to send to that person you can’t stop thinking about.

Titled ‘Lovestruck’, it’s a tune that speaks of the feeling of coming to terms with the fact that you can’t keep your feelings down forever. There will come a time when you have to share what you’re going through with that significant other who you have been flirting round the edges with, especially when that significant other isn’t actually available.

It’s a curious situation to be in, but one that so many of us have experienced, even if we don’t want to admit it.

The result is a quietly danceable and very lovely piece of modern pop-rock.

James had this to say about it:

“Lovestruck was a song I initially wrote a couple of years ago. At first it was a heavier, electronic song with a synth bass; the chorus having “which one of you fuckers wants your bank robbed” screamed over it! The song was shelved for a while until I was listening to “1979” by the Smashing Pumpkins and I thought about revisiting it. The lyrics detail the bravado of meeting someone and the inflation of the ego in such a presentation, only for the possible partner to already be in a relationship with someone that the lead doesn’t think they should be with. I spent hours trying to replace “which one of you fuckers wants your bank robbed” but nothing ever hit me in the same way. It feels like a very sincere song to me.“

‘Warning Signs’ will be yours on January 15 2027 via AWAL.

Here is previous offering, ‘Burn Down The Disco’:

If that wasn’t enough, James has also shared more tour dates across the world, due to the phenomenal demand. Here are all the dates he will be playing, with the new additions in bold.

FEBRUARY 2027

09 – WASHINGTON Union Stage
11 – NEW YORK Irving Plaza
12 – PHILADELPHIA Theatre of the Living Arts
13 – BOSTON Paradise Rock Club
16 – TORONTO Opera House
18 – CHICAGO Metro
19 – MINNEAPOLIS Fine Line
21 – DENVER Summit
23 – SALT LAKE CITY Metro Music Hall
25 – SEATTLE The Showbox
26 – VANCOUVER, The Pearl
28 – SAN FRANCISCO August Hall

MARCH 2027

02 – SAN DIEGO Music Box
03 – LOS ANGELES Teragram Ballroom
04 – PHOENIX Crescent Ballroom
06 – DALLAS Echo Lounge & Music Hall
07 – HOUSTON White Oak Music Hall
09 – ORLANDO The Beacham
10 – ATLANTA The Masquerade – Heaven
11 – NASHVILLE The Basement East
25 – MANCHESTER O2 Apollo
26 – MANCHESTER O2 Apollo
27 – GLASGOW Barrowland Ballroom
29 – GLASGOW Barrowland Ballroom
30 – GLASGOW Barrowland Ballroom

APRIL 2027

01 – NEWCASTLE O2 City Hall
02 – NEWCASTLE O2 City Hall
04 – BIRMINGHAM O2 Academy
05 – BIRMINGHAM O2 Academy
07 – CARDIFF Depot
08 – BRISTOL The Prospect Building
09 – LONDON OVO Wembley Arena
26 – BRUSSELS AB Ballroom
28 – COLOGNE Gloria Theatre
29 – HAMBURG Mojo Club
30 – COPENHAGEN Amager Bio

MAY 2027

02 – OSLO Parkteatret
03 – STOCKHOLM Fållan
05 – HELSINKI Apollo Live Club
07 – WARSAW Progresja
08 – BERLIN Kesselhaus
09 – PRAGUE Archa
11 – MUNICH Nachtwerk
12 – PARIS Trabendo
13 – BARCELONA Razzmatazz 2
15 – AMSTERDAM Melkweg
16 – AMSTERDAM Melkweg

The post James Marriott Shares Gooey-Eyed New Track ‘Lovestruck’ appeared first on Rock Sound.

I guess hip-hop-influenced black metal is commonplace now. It’s not surprising that a generation of musicians raised on artists like Bones would explore further evolutions of the sound, but something about the current social media epoch has really opened the floodgates for dudes in corpse paint to flash menacing hand movements over blown-out industrial beats. Këkht Aräkh is probably the biggest example of this, ¹ but the microgenre of “people who like Darkthrone AND Three 6 Mafia” has come a long way since Mora Prokaza. Enter Antania, a California duo with a sizable social media following, and their third full-length, The Unholy 33. They describe their music as “avant-garde industrial black metal,” but it seems to have far more in common with Ghostmane than Dødheimsgard. ² I’ve yet to hear this style truly win me over, but would The Unholy 33 be the one to break the streak?

Reader, it would not. Antania’s sound on The Unholy 33 is certainly unique, presenting a novel blend of aggressive horrorcore-style ³ industrial beats with black metal flourishes and vocals, but the execution is monotonous and genuinely difficult to listen to. Beatmaker Dr. Luna serves up cartoonish “spooky” Old Nick-style synths (“33”), blown-out, nü-metal-tinged, guitar-like riffage (“Gloomzday”) and tired, icy hip-hop leads (“Cykl0pZ”). All of it sits over programmed drums so egregiously busy that they never stop flailing between triplet trap hi-hats, blasts and stuttering double-bass gallops. Atop this racket, vocalist Kali Mortem delivers a stock black metal shriek in clipped, staccato bursts, repeating simple, cringeworthy phrases until four-minute songs feel like fourteen. There is variety in the instrumentals, and some fun production flourishes, like a pitched vocal sample (“ThUG33”) or a reverse tape effect (“Flies”), but the record as a whole is intensely one-note and grating.

The sonic aesthetics aren’t helped by the general presentation. You’ve surely noticed the song titles by now, each one an assault of gamer-tag capitalization, and somehow they’re still less annoying than the lyrics. On “Sn0wAnGel,” Kali Mortem repeats such poetic triumphs as “gonna make snow angels out of your blood” over an obnoxious filtered synth line and clipping programmed cymbals, while “AntVniV” gives us gems like “you don’t fuck with me/you’re gonna fucking die.” This seems like obvious tongue-in-cheek, sophomoric braggadocio coated in an edgy veneer, and when combined with some of the incredibly campy synth parts, it could at least come across as stupid fun, but the one-note nature of the black metal vocals makes any charisma or playfulness virtually impossible to discern aurally. I normally wouldn’t harp on a costumed band for a dorky image, ⁴ but there’s a key mismatch between the ornate, self-serious presentation, the self-description as “avant-garde industrial black metal,” and the jokey content of the songs that betrays a fundamental disconnect at the core of the whole project. It just doesn’t work.

Every time Antania seem to present a good idea, they immediately undercut it with its execution. Take the song “DVHM3R,” for example: what should be an exciting burst of hard-hitting blackened rap instead comes across as grating. The track rides an abrasive, low-end-heavy synth riff for its entirety, with drums oscillating between groovy kick bursts and even blast beats, while the vocals intone a simple chorus line over and over again. There are additions of more organ-like synths here and there, but the whole thing feels like a monotonous exercise in repetition rather than a song. The same could be said for “Frazzledrip,” based around a blaring, horn-like loop, or “Kultz,” built around a repetitive, jumpy synth burble. Rather than manifesting an abrasive, haunting experience, these sounds just repeat ad nauseam and wear out their welcome almost immediately, making a full listen-through of The Unholy 33 feel like an impossible eternity rather than just 45 minutes.

Antania may have cooked up a garish new flavor combination, but nobody should be asked to finish the plate. I respect the ambition, and a handful of beats show real production chops. As an album, though, The Unholy 33 is unfocused, off-putting and neither campy enough to enjoy ironically nor uncomfortable enough to be compelling. Someday a corpse-paint-adorned MC will nail the black metal/horrorcore fusion. That day is not today, and this is not that record.

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Rating: 1.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Argonauta Records
Websites: Ampwall | Facebook
Releases Worldwide: October 16th, 2026

The post Antania – The Unholy 33 Review appeared first on Angry Metal Guy.

Posted on October 16th 2026, 12:04pm

Paul McCartney has admitted that it can be difficult, as a music industry legend, to get sincere and honest feedback from collaborators.

The Beatles legend discussed the topic in conversation with US comedian, actor and podcaster Amy Poehler on her Good Hang with Amy Poehler podcast.

McCartney prefaced his comments by talking about how, in The Beatles, the band members close relationships with one another helped foster total honesty when it came to discussing creative matters.

“The good thing was we we grew up together, so there was like a family aspect,” he tells Poehler. “Me and George [Harrison] went to the same school, and John [Lennon] went to the art college next door. And it took years for us to kind of get any fame, so we were out in Hamburg, schlepping around, playing at not very nice little clubs. We enjoyed it, because we were young kids in Hamburg.

“When you know each other that well, and you’ve been together that long, it does become like a family. So then that finds its way into your writing and your work, you know, that I can tell what he’s thinking or I can tell him that I didn’t like that line, or he can tell me that sucks. so that’s very good, as you know, for for writing.”

The host then suggests to McCartney that, as an creative artists attains a degree of success, sometimes people are afraid to give you real feedback.

“Yeah, that’s a danger now,” McCartney agrees. “People all say to me when I’m working with a producer, they say, ‘Does he tell you if it’s no good?’ And I’m not sure, maybe he doesn’t. [Laughts] I think you find people who will tell you and stuff, but it must be hard for them. Because you you’ve got such a reputation.”

McCartney’s most recent album, The Boys of Dungeon Lane, released in May, was produced by Andrew Watt, who has also worked with The Rolling Stones, Elton John and Ozzy Osbourne over the past decade.

“I am the luckiest fucker to be in the room with people who changed my life before I ever met them,” Watt told The Telegraph earlier this year, saying that he “literally” had to ask McCartney to slap him to prove that working with him wasn’t just a dream.

“As a child, I knew every Beatles song, I studied every Beatles chord – I couldn’t really fathom that a Beatle was about to be in my kitchen,” he admitted. “I needed a slap, right?”

After working together, McCartney revealed that Watt could be “a bit pushy” in the studio.

“I was not shy!” Watt agreed when speaking with The Telegraph. “I had to get up in the morning, look in the mirror, say, OK, I am going to let go of the fear even if I feel like an absolute moron telling Paul McCartney what I think about making records, because otherwise he could just do it all himself.”

And it’s not like McCartney himself isn’t in awe of some of his own heroes. When Amy Poehler asks the star if there’s anyone that he would wish to collaborate with, McCartney replies, “Ummm, no. I asked this question and I always think Bob Dylan. But I’m too nervous. to ring him up!”

Watch the interview in. full below.

Gothenburg psych rock trio Graveyard hoist their seventh album, Fever.

What do we know about Graveyard? There are three of them. They’re from Sweden. They play psychedelic rock, the kind that works for stoners, too. Before the latest record, they put out six others, all of them unforgettable. The band is reported to be Joakim Nilsson (guitar, vocals), Truls Mörck (bass, vocals), and Oskar Bergenheim (drums).

Talking about the new album, the band reflects, “Here it is — album number 7. Fever. Haven’t we always had it? The itch, the burn and the restlessness. The urge to push forward into the fog. Even with the teeth of hopelessness snapping at our asses and all the smoke and mirrors of our time telling us we got no future. Come what may. Let’s go! This time around, we decided to waste no time. No outside producer. No detours. Just Graveyard, straight to the point, doing what we do best. This just might be our greatest album so far! Hope you like it, too.”

There are nine tracks on the latest platter. “Back From The Grave” is a good mood-setter, heavy and bluesy. The gritty vocals plant a layer that settles the music on its path, one that is filled with menace. It is a portent. “Tongue Tied” crackles in on the wings of distortion then lands in a fuzzy groove while ultimately tending toward a battering. “A Better Cut (Note To Self)” is a bit slower, although the narrative continues with dark notions. “Year Of The Horse” whips us back into action, and “A Means To An End” finishes the side with a grinding puncher.

The music on the record is generally heavier than we are used to hearing from Graveyard, and I am here for it. It is down in the dirt and fervent. The proceedings continue similarly in the second half. “Time To Tell” and “Don’t Shoot!” are somewhat modulated, and “Room Tempered” blows your hair back. The final track is the nearly seven-minute “Dead Note.” The composition presents a sinister posture and makes brings on the mystery. Fever is just what they said it was going to be, and you don’t want to miss it. Highly recommended.

Fever is out on Friday, October 9^th through Nuclear Blast Records. Listen and buy at the links below.

Links.

Facebook, https://www.facebook.com/graveyardofficial/

Nuclear Blast Records, https://www.nuclearblast.com/pages/graveyard

© Wayne Edwards

Posted on October 16th 2026, 11:43am