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This is the fifth album from US progressive black metal act Ashen Horde. 2023’s Antimony was Ashen Horde’s best album up to this point. This means that The Harvest is an eagerly anticipated new record from this notable band. Will it have what it takes to knock Antimony from the top spot? The answer to … Continue reading “Ashen Horde – The Harvest (Review)”

(written by Islander) Yesterday I riffed on how my plans for Saturday-morning NCS roundups can fall apart as a result of Friday-night adventures, even when those adventures don’t include self-immolation. Much the same could be said of Saturday nights and their occasional wreckage of Sunday mornings. This has happened again. I’ll spare you the details. […]

The post SHADES OF BLACK: SHAMORGA, MERESIN appeared first on NO CLEAN SINGING.

I think we all kinda saw this one coming, so it’s nice to have it basically confirmed. Godsmack frontman Sully Erna appeared on one of everyone’s favorite radio shows, SiriusXM’s Trunk Nation with Eddie Trunk, on April 23, where he was asked about whether the band’s latest album Lighting Up the Sky will be their last. Since, let’s not forget, that both And, based on the title of this article, I imagine you’ve surmised what his answer was.

Erna said, as transcribed by Blabbermouth.net:

“I think some press misunderstood that. What I had said was, if I remember correctly — I don’t know; maybe I was a little foggy at the time — but I just said that I was pretty sure that this would be the last full body of work from Godsmack, from the original members, that we wouldn’t be able to do this anymore because these guys [guitarist Tony Rombola and drummer Shannon Larkin] were gonna kind of take their final curtain call and bow out. And I knew that this was most likely gonna be the last full body of work from the original members. But now here we are. Me and [bassist] Robbie [Merrill] had a long talk. We were, like, ‘Well.’ We had a decision to make, and we said, ‘Well, we’ve still got some gas in the tank here. I don’t really wanna hang it up yet.’ And he’s, like, ‘Let’s go around.’ And so we brought in these new guys, and it’s sounding great. So we’re, like, yeah, there’s probably gonna be some new music coming. I mean, it may not hit the streets till early ’27, but we’re gonna do something, for sure. But it just won’t be with all the original members anymore.”

Now that he’s cleared that up, he was also asked about the band’s latest additions: guitarist Sam Koltun and drummer Wade Murff, who came in to replace OG guitarist Tony Rombola and drummer Shannon Larkin after they announced their retirement last year.

“Sam’s on board now full-time, and he’s gonna be the new player from this point forward. And the drummer that we chose, his name is Wade Murff. He’s worked with Daughtry and some other acts. A fairly under-the-radar kind of guy. A strong player. A great dude. Really good with attention to details, as Sam is.

“I have complete confidence in this, although we start rehearsals next week. I’m just really confident that this is gonna be just as good, if not better than ever, because these guys came in with the right attitude. They honored the catalog, they honored the playing. They didn’t try to reinvent it. And as you know, a guitar can sound like a guitar, a drum can sound like a drum. Until you replace the vocalist, that’s when the sound really changes. So I really feel that the fans will be able to come and enjoy the music as they have always known it, because it won’t sound foreign to them, like there’s a new singer singing Godsmack stuff. And plus their showmanship even elevates it a little bit more. I mean, Shannon’s hard to replace. He’s the GOAT [Greatest Of All Time]. If you see that dude play, he’s a tough cookie to replicate or replace live visually. But this guy, Wade, he’s strong. He’s got some great chops, and he’s really playing the stuff solid. I’m very happy to take them on tour and introduce them. And this is gonna start the next chapter in our life here, Godsmack 2.0.”

Honestly, Murff is a clutch score for the band. He’s apparently been playing drums since he was a wee lil 4-year-old lad, crediting John Bonham (Led Zeppelin) and Alex Van Halen as initial drumming inspiration, though Pantera’s Vinnie Paul and Slayer’s Dave Lombardo really fueled that fired for him. He’s got quite a bit on his resume too, having worked with Sebastian Bach, Doyle (Misfits), Orgy, and more.

Murff had this to say when he asked about his playing style:

“Don’t get me wrong, I appreciate technique and precision, but I love seeing drummers that hit hard and play with a lot of heart and physicality. Live, I always want to play on the edge between control and chaos; something could break at any moment, someone might get hurt… especially me. [Laughs] Seriously though, I’m committed to delivering that type of show every night, no excuses.”

It’s kind of weird to think of Godsmack transitioning into a band where the new-to-original ratio of the members favors the former, but I guess it happens to every band at some point.

The post Sully Erna Confirms New Godsmack Music… Without Any Original Members appeared first on MetalSucks.

"While he strongly refutes these allegations, the director in question has agreed, . . . to step down . . . while this matter is ongoing," the festival announced on social media last Friday (April 24). Continue reading…

In recent months, I’ve written about a couple of singles from Seattle, Washington’s Radio Weekend. This foursome is my kind of band. They’re right there in that punk-adjacent power pop lane that has always been a sweet spot for me, but they don’t really sound like any other band out there. They’ve carved themselves a nice little niche of their own. They cite some classic influences (The Cars, Cheap Trick, Ramones) but never really sound like they’re trying to imitate those bands. There are a couple homages here and there (see if you can spot them!), but Radio Weekend’s sound is more of a general vibe. As I listen to new EP Circles, my mind keeps jumping to ’90s punk-pop and alt-rock — but by way of the late ’70s and early ’80s. Essentially, this is the band for all of us who were drawn to pop-punk and power pop because we were new wave kids.

So I got a direct message from Eric Anderson, who had gotten a direct message from Dan Henry about this new-old album from a band called The Fix. How cool is it that all these years later, those Gun Fury guys are still influencing the music I listen to? The Fix was a band from Oxfordshire fronted by Tim Field, formed in 1994. Pop Affliction Records has finally given the band’s album Best Days of Your Life a proper release, and the thing is absolutely fantastic. Field describes the band’s sound as “BritPop,” but this is not quite the same sort of Brit-pop that was becoming all the rage right around the time this album was recorded. The Fix’s sound was more traditionally British guitar pop in a very elegant sort of way. You can hear the influence of The Kinks and The Jam along with some of the jangly indie pop that would have been quite contemporary at the time. Most importantly, the songwriting is superb. These are thoughtful, beautifully-crafted songs with hooks that cannot be denied. This an album full of interesting stories and deep reflections on life. The moment you hear “Lottery,” you’ll be stunned that a song this brilliant has been sitting in the vault for three decades. If you enjoy power pop and late ’80s/early ’90s indie rock that wears its Britishness on its sleeve, you’re going to go nuts for Best Days of Your Life. The fact that this album includes an adaptation of a John Betjeman poem and a cover of a song by The Action tells you quite a lot about The Fix. Kudos to Pop Affliction for unearthing this gem! Right now, the album is available on cassette tape, but something tells me a vinyl release will happen sooner or later.

5 Noir Rock Makeup and Nail Trends for the Modern Goth

Elevate your aesthetic with these essential style tips.

Defining the Noir Rock Look

The Noir Rock aesthetic is about more than just clothing. It is a visual language that combines cinematic drama with edgy, modern fashion. Your makeup and nails are the final, defining details of this look. Here are five trends to help you perfect your style.

1. Matte Black Smoky Eyes

The classic smoky eye is a staple of gothic beauty. To update it for the modern era, focus on a matte finish. Avoid shimmers or glitters. Instead, layer deep charcoal and pitch-black eyeshadow to create a soft, blurred effect around the lash line. This provides a sophisticated, moody foundation for your face.

2. Deep Berry and Black Lips

Lip color is the most expressive part of your makeup routine. For a Noir Rock look, move away from bright reds. Embrace deep, dark shades such as blackberry, oxblood, or absolute black. A matte lip is preferred, but adding a thin layer of clear gloss can provide a modern, sleek finish that catches the light beautifully.

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3. Negative Space Gothic Nails

Nail art is a powerful tool for self-expression. Try the “negative space” trend by leaving parts of your natural nail visible. You can paint intricate, black geometric patterns or silver filigree over a clear base. This creates a high-contrast look that is both modern and undeniably gothic.

4. Silver Metallic Accents

Silver is the preferred metal for the Noir aesthetic. Incorporate silver metallic liners into your makeup routine by adding a sharp, precise wing to your eyes. Similarly, for your nails, use silver chrome polishes to create sharp, dramatic tips against a matte black background.

5. The “Smudged” Editorial Look

Sometimes, perfection is not the goal. The “editorial” look involves intentionally smudging your liner to create a lived-in, cinematic feel. This technique works perfectly with the Noir Rock vibe, as it suggests an after-hours, backstage atmosphere. Use a smudge brush to soften your liner, giving your eyes a mysterious, artistic quality.

Conclusion

These trends offer a roadmap for evolving your personal style. Whether you choose to try one or all five, remember that the most important element of your look is confidence. Experiment with these techniques to find what best expresses your identity.

Complete your look with our Noir Rock playlist:

Read our manifesto on finding beauty in the shadows.

The post 5 Noir Rock Makeup and Nail Trends for the Modern Goth appeared first on Edgar Allan Poets – Noir Rock Band.

It’s been ten years since Tyketto released their last album ‘Reach’ and in the time between that release and this months release of ‘Closer to the Sun’ we’ve lost founder member Michael Clayton on drums and Chris Green on guitar, replaced by Johnny Dee and Harry Scott Elliott respectively. They join Danny Vaughn and Ged Rylands to lead Tyketto into a new era.

Of all the bands to harness the spirit of 80’s Hard Rock that came onto the scene just a little too late to make it truly huge, Tyketto has always been one of a handful for me that endure the test of time. ‘Don’t Come Easy’ (1991) and ‘Strength in Numbers’ (1994) are records I would put up against any record by any band of the era. They simply had it all. And that class endured through line-up changes and the decades to produce a comeback album in 2012 ‘Dig in Deep’ that shone and 4 years later ‘Reach’ that kept the band’s high standards intact.

‘Closer to the Sun’ might even just edge it to be the best album of their renewed career. It’s an album that captures the taste of the early band and may of its hallmarks, yet which sounds remarkably fresh. Mark caught up with Rockpit Regular Danny Vaughn to get inside the songs and talk about big things to come…

The post INTERVIEW: TYKETTO – Danny Vaughn talks to Mark about new album ‘Closer to the Sun’ appeared first on The Rockpit.

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”¹ would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”² but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.³ But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

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Rating: Mixed
DR: 8⁴ | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 2026⁵

The post Chariots Overdrive – The End of Antiquity Review appeared first on Angry Metal Guy.