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Poughkeepsie, New York based cyber grindcore formation Genghis Tron have unveiled details and first single in what will be their fourth studio record. Entitled Signal Fire, it will be set free on June 12th via Relapse Records.
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Bird’s The Boy And The Swan is a tender and evocative indie folk gem, driven by heartfelt storytelling and understated beauty. Built around delicate acoustic instrumentation with subtle pop-rock flourishes, the track unfolds with a natural, almost cinematic grace. Bird’s vocals are intimate and expressive, carrying a quiet emotional weight that enhances the song’s universal themes of identity, empathy, and resilience. There’s a timeless quality in both melody and message, allowing it to resonate deeply.

Poignant and beautifully crafted, this is indie folk at its most sincere and affecting.

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The story behind The B-52’s timeless anthem Love Shack

Hecate Enthroned have debuted a Jack Maguire-directed music video for “Deathless In The Dryad Glade”, the second single from their forthcoming long player The Corpse Of A Titan, A Lament Long Buried.
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Due to HUGE demand, Bring Me The Horizon have already added another show in Manchester before the first one has even gone on general sale.

The band are taking over Manchester’s B.E.C Arena on both July 10 and now July 11, playing their debut album ‘Count Your Blessings’ in full for the first time ever.

They will be joined on both days by Static Dress, Dying Wish, HERIOT, Rolo Tomassi, Car Underwater and Still In Love.

Anyone who has already signed up for pre-sale will receive a new link for the early access, which will be on sale April 16 at 10am.

Phew. It is all happening.

Earlier this week, the band announced details of a re-recorded version of the album, ‘Count Your Blessings: Repented’, set for release on July 10, with a tracklisting that includes what appears to be a previously unreleased track.

The post Bring Me The Horizon Add Second ‘Count Your Blessings’ Anniversary Show appeared first on Rock Sound.

The most immediately notable aspect of Teen Suicide’s latest offering – ‘Nude Descending A Staircase Headless’ – is that the production value is great. This is worth pointing out as the band initially made a name for themselves as a lo-fi project; ‘NDASH’ is the first time that Teen Suicide have released anything that wasn’t produced in-house. Far from using this as a reason to shed the layers of sonic texture that lend character to lo-fi production, Teen Suicide have taken the opportunity to fill the clean space of professional production with tightly controlled noise. The result is an open sound, sonically and emotionally, which churns with chaos and discord without ever becoming claustrophobic.

Lead single ‘Idiot’ outlines the album’s fundamental spirit. The opening off-mic “You ready?” gives the impression of a spontaneous live recording. Add in the thudding math and post-hardcore riff that dominates the song’s first half, and the dramatic change in dynamics that occurs in the second, and you soon have many of the elements that are found throughout the subsequent record. Sam and Kitty Ray join together on vocal tracks in the song’s quieter moments, to deliver a repeated mantra that summarises the ethos of the record itself: “Even though a part of me has died, I still want to try”.

There is an urgency to many of the key Kitty tracks here – there’s pure rage in songs like ‘Candy / Squeeze’ and ‘Keeping Her Keys’, but also a softer tone in tracks such as ‘Spiders’ and ‘Hypnotic Poison’. The latter is led by an electronic drumbeat and a warm bassline that rises to frantic peaks. But it is best defined by its quieter, intimate moments. The opening guitars on ‘Spiders’ ring with reverb, as do Ray’s vocals, which are floatingly unhurried. When the louder guitars rise up underneath, they build and release tension in equal measure to create a chorus that blends harshness with something far softer.

Textures meet and intertwine throughout ‘NDASH’. ‘Kindnesses’ takes a clean acoustic guitar signal and a distorted flanged signal and allows the contrast between the two – inseparable yet divorced – to underpin a quiet, emotional song with layers reminiscent of The Microphones. Album opener ‘Anhedonia’ whispers wailing feedback loops under its quiet guitars. The noise is screaming, muffled and waiting to be unleashed. When it does, the dynamic rises – not frantic, just larger and all-encompassing – still holding back those wails of feedback until its closing moments when the noise finally overcomes the music.

If the album opens with Teen Suicide flexing their sonic muscles, ‘NDASH’ closes with Sam Ray returning to his roots on ‘Come And  See The Clown’. It’s short – under two minutes – and stripped back, all vocals and acoustic guitar, no embellishments. It’s mournful and hopeful in equal measure, putting Ray in the position of Pagliacci, the sad clown, performing for others while unable to see the funny side. And yet, the album closes on the words “we pray to God he never stops” – Ray is both the performer and audience, finally able to witness himself.

‘Nude Descending A Staircase Headless’ has the energy of a lo-fi album, but it is never pretending to be anything other than what it is: wistful, yearning, emotionally open and filled with lush textural details that never outstay their welcome. As bold as it is to move away from their lo-fi roots, Teen Suicide have shown here that neither their songwriting, nor their spirit, are tied to their production – both are thriving in this new world.

WILL BRIGHT

With 33 songs and over two hours of music, Lord of the Lost has written an ambitious trilogy, mercifully spread across eight months rather than released all at once. On Opvs Noir, the band leans into the darker, more gothic aspects of their pop-infused metal, bringing plenty of guest collaborators aboard to keep things spicy. The first two volumes of this opvs have proven a success, with creative instrumentation and an affecting performance from frontman Chris Harms. The question is whether Lord of the Lost can keep up the momentum across another 11 tracks on Vol. 3. The finale of an ambitious project such as this can often feel bittersweet, as it marks the end of something you have (hopefully) come to love, or, like the finales to the Mission Impossible series or Daniel Craig’s James Bond run, it can just be plain disappointing.

Unlike the more energetic, sometimes ostentatious arrangements of the prior two records, Vol. 3 proves to be a much mellower affair. The gothic symphonic elements often pair with softer pop/rock tunes, many of which aim at mood over hooks. Opener “Kill the Lights” starts off with a poppy beat, some cellos, and a growling Chris Harms, and though the chorus might not stick, it’s an overall good song. The moodier pieces don’t always work, however. “The Shadows Within,” which alternates between slower pop and higher energy techno-pop, is largely forgettable. The minimalist finale, “The Days of Our Lives,” serves as a disappointing send-off for the trilogy, though Harms, as usual, makes it worthwhile with his melodic cadence. Though overall less exciting, Vol. 3 does offer plenty of catchy ballads and duets, including “La Vie Est Hell,” performed with departing Kissin’ Dynamite frontman, Hannes Braun.¹ It doesn’t do anything fancy, yet I find it often playing in my head on repeat.²

Opvs Noir Vol. 3 does milk some variety out of a couple of pop-related themes coursing through it: empowerment and doomed love. The two most upbeat tunes, “I’m a Diamond” and “I Hate People,” play out as Rammstein techno-industrial pop anthems for people who don’t quite fit in with mainstream society. While “I’m a Diamond” is the catchiest song on offer, the lyrics are a touch contrived.³ “I Hate People” turns the misanthropic-sounding title on its head by directing its ire towards those who seek to force their limited ideology on others.⁴ Lyrically, the synth-heavy, hip-hop adjacent “My Funeral” is my favorite, containing tongue-in-cheek lyrics where Harms proclaims that “Black is my happy colour” and “I’m gonna, gonna wear / Pink to my funeral.” Rounding out the pop themes are a few love songs, from the Duran Duran-inspired synth pop track, “Square One,” complete with ’80s toms, to a touching duet with Ambre Vourvahis (Xandria). These touches do help keep a rather mild record from growing stale.

While the songs here are well-written, produced, and performed, there’s no denying that it feels as if Lord of the Lost ran out of gas by Vol. 3. The hooks just don’t come as easily, and the lower energy levels feel like a letdown compared to the highs of the first two volumes. One issue is the blandness of the guitars. While creative riffing has not been one of Lord of the Lost’s fortes, they made up for it in the past with more creative arrangements. The generic riffs that fire up on choruses from “The Shadows Within” to “Your Love is Colder Than Death” feel like halfhearted attempts to inject some life into tepid tunes. Much more effective is the penultimate song, “Take Me Far Away,” which ends with an exciting burst of drums and riffs that brings the record to life, albeit briefly.⁵

This finale ends up bittersweet, feeling more like a whimper than a bang. Yet for fans of Chris Harms and co., it’s not a total loss. Chris Harms is able to elevate even the blandest of tunes; there’s not a single bad song, though many are only mildly enjoyable. Unlike a lot of the dreck that some of the more popular metal bands release, however, Lord of the Lost puts a lot of thought and care into their music, and the Opvs Noir trilogy has plenty to offer those who like their metal less extreme, yet still carrying an edge.

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Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: April 10th, 2026

The post Lord of the Lost – Opvs Noir Vol. 3 Review appeared first on Angry Metal Guy.

Terror have shared a new track from their upcoming new album ‘STILL SUFFER’ and it’s the sort of collaboration that hardcore is built on.

It’s called ‘Fear The Panic’ and was produced by none other than New Found Glory guitarist Chad Gilbert. If that wasn’t enough, it also features a vocal take from the legendary Chuck Ragan, of Hot Water Music fame.

Embodying all of the gritty, headstrong emotion that has defined the band over the years, the addition of Chuck showcasing a different side to his gruff vocals takes everything to a completely new level. A song about pushing yourself out of your comfort zone, letting the feelings of doubt and uncertainty drive you towards your goal, it’s apt that so many people who have found each other because of this music have the chance to put their mark on it.

Here it is in all its bludgeoning glory:

‘STILL SUFFER’ will be released on April 24 via Flatspot Records.

Here is the rager of a title track:

The band are due to have a European Summer. Here are all the places you’ll be able to catch them:

24 – GOMS Rotten Rock Fest
24 – INSMING Mozhell Open Air
26 – FREIBURG Crash
27 – KASSAL Goldgrube
28 – ROSTOCK Peter Weiss Haus
29 – POZNÁN 2Progi
30 – KRAKÓW Hype Park
30 – LÖBNITZ Full Rewind

AUGUST

01 – NEUNKIRCHEN Stummsche Reithalle
02 – SAINT-MAURICE-DE-GOURDANS Sylak Open Air
03 – WEINHEIM Cafe Central
05 – CHAM L.A. Live Style Cafe
05 – JAROMER Brutal Assault
07 – DUFFEL Brakrock
08 – KORTRIJK Alcatraz
09 – STUTTGART Im Wizemann
11 -TOLMIN Punk Rock Holiday
11 – GRAZ PPC Bar
12 – SCHWEINFURT Alter Stattbahnhof
12 – WITTELSHOFEN Summer Breeze Open Air
13 – SULINGEN Reload Festival
15 – VILLMAR Tells Bells

The post Terror Join Forces With Chuck Ragan On Scorching New Track ‘Fear The Panic’ appeared first on Rock Sound.

Power metal outfit KingCrown has renewed contract with Rockshots Records for the release of their fifth studio album Moonfall in September, 2026. The latter was mixed and mastered by Simone Mularoni (Domination Studio). First single, “Lost Horizon”, drops on May 1st.

Too Early to Tell’s Old Timer is a fuzz-drenched blast of grunge-infused indie rock, balancing raw urgency with textured depth. Built on thick, distorted guitars and hazy shoegaze layers, the track moves from tense, restless verses into explosive, cathartic choruses that hit with full force. There’s a palpable live energy running throughout, giving the song an unpolished, immediate edge. Melodic instincts cut through the noise, keeping everything grounded and memorable.

Old Timer is gritty, dynamic, and emotionally charged—alt-rock with bite and atmosphere.

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