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West Palm Beach, FL-based deathcore quartet Nosebleedr premiere a new single and visualizer named "Dismantler", streaming via YouTube and Spotify for you now below. Read More/Discuss on Metal Underground.com

Some records are good, some are great, and then once in a while something rolls in out of nowhere, no warning, no label that sticks, and you feel it right away, something shifting, something opening, and you’re already somewhere else.

You try to name it at first, of course you do.
But it doesn’t really help.

What you hear instead is movement.
Guitars that hit like Shellac for a second, then drift somewhere closer to Polvo, then open up, stretch out, something psychedelic not far from King Gizzard, and then suddenly warmer, wider, like air at night, like you’ve been dropped somewhere in the Sahara, late, no one around, maybe Tinariwen somewhere in the distance.

And then even that disappears.
Angine de Poitrine does not settle anywhere despite such a strong rhythmic section.

Vol. II doesn’t feel “original.” It feels new.
Not new as in different. New as in: we don’t really have the coordinates yet.
There’s psych in it, math rock in it, hard rock in it, yes, but it moves through all of that, it doesn’t stay still long enough to belong anywhere. It grooves, constantly, everything is in motion, and before you realize it you’re already inside it.

And around it, there’s a whole world.
Costumes, masks, some kind of internal logic that makes sense only once you’re in.
They speak the language of whales, or something close, or something that feels like it could be.
At some point you stop asking and just take it.

Then you start listening differently.

Quarter tones first.
Notes that don’t land where they should, slightly off, slightly wrong, but not wrong, not really, just somewhere else.
It brings to mind Prokofiev’s War Sonatas, that same way of making something complex feel immediate, almost obvious.
Dissonance that draws you in instead of pushing you away.

Then the ghost notes.
Notes that aren’t played.
You hear them anyway.
You hear the space where they should be and your brain completes it, fills the gap, and suddenly you’re listening to absence as much as presence.
It’s controlled. It’s extremely precise. It’s addictive.
You start waiting for what won’t come.

And then the pedals.
Khn de Poitrine is there, working them with his feet, slowly, almost invisibly.
Not switching sounds, not jumping from one to another, but sliding, easing into them.
He turns the volume of the effects little by little, and the texture stretches, they evolves on a spectrum.
Nothing breaks. Nothing cuts.
It just keeps becoming something else.
Until, suddenly, it doesn’t, and everything collapses at once.

And finally, the loops.

Some of them you don’t even hear when they’re recorded.
They’re played, but hidden, kept somewhere under the surface.
He records them without giving them to you, holds onto them, brings them back later when you’re no longer expecting them.
Which means he has to carry them the whole time, hear them before you do.
The music exists ahead of itself.
That’s not normal.

Yet none of this feels like a demonstration.
No showing off, no “look what we can do.”
It just moves. Again.

That’s why Vol. II feels rare.
Not just good, not just strong, but one of those records that quietly rearranges things a little, shifts the way you listen without announcing it. And make you smile. Again.

After nearly 4,000 articles on Still in Rock, you start to recognize these moments.
They don’t happen often.
This is one of them.

The post Fuck Mars, I’m Staying: Angine de Poitrine’s Vol. II appeared first on Still in Rock.

They split up in 2017, feeling they’d been overshadowed by the djent bands they’d inspired. Much to their own surprise, they’ve returned with Genotype – a rewritten ending to the story they began with 2016’s Phenotype

Veteran death metal band Six Feet Under have released “Mutilated Corpse In The Woods” as the latest single from their upcoming 15th studio album, “Next To Die.” Longtime core members—and Cannibal Corpse alumni—Chris Barnes and Jack Owen continue to lead the group, with Owen offering some insight into the origins of this second advanc… Read More/Discuss on Metal Underground.com

At The Gates have continued the emotional rollout of their final studio album featuring late frontman Tomas “Tompa” Lindberg. The legendary Swedish melodic death metal band unveiled a new music video for their track “The Dissonant Void,” directed by Costin Chioreanu, streaming via YouTube and Spotify for you now below. Reflecting on … Read More/Discuss on Metal Underground.com

Одиночество Взахлеб by Lizzy Morisson feels like a gothic descent into inner collapse, where atmosphere and emotion blur into something deeply personal and unsettling. Driven by shadowy guitars and a cold, spacious production, the track carries a ritualistic weight, as if mourning not a person but a version of the self left behind. Her vocal delivery moves between fragility and intensity, embodying that suffocating sense of being lost in time and self-reflection.

It’s dark, poetic, and emotionally raw—a piece that doesn’t just express loneliness, but fully inhabits it.

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Foreshadow by GEV unfolds as a tightly wound psych instrumental, built on swirling textures and a slow-burning sense of anticipation. The track moves with purpose, layering hazy guitar tones and subtle rhythmic shifts that keep it in constant motion without ever breaking its trance. There’s a cinematic edge to it—like something is always about to happen, but never fully arrives—making it both hypnotic and slightly unsettling.

A focused, atmospheric piece that leans into mood and tension rather than release.

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mtv unplugged by Matt Storm feels raw in the most intimate way, stripping everything down to emotion and presence. Built around delicate acoustic textures, the track carries a quiet psychedelic melancholy, where every note seems to breathe alongside his voice. His delivery is soft yet insistent, balancing vulnerability with a subtle defiance that mirrors the song’s core theme of autonomy.

There’s a ghost of grunge-era confession here, but filtered through a more soulful, modern lens. It doesn’t try to overwhelm—it lingers, honest and exposed, letting its emotional weight unfold slowly.

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The Inferno of Antifermo by Numbz & Thought Provokah hits with a gritty, focused intensity, channeling frustration and resilience into a steady, no-frills hip-hop burner. Over a dark, smoldering beat, Thought Provokah delivers sharp, purposeful bars that reflect the struggles of navigating the music game without losing direction.

It’s linear but highly addictive—no wasted moments, just momentum and conviction—turning pressure into drive and keeping its energy locked from start to finish.

Joss Dean strips things down to their purest form on Was I Loved (Dub Mix), crafting a deep, late-night cut that thrives on restraint and precision. Built on rolling drums and a weighty low-end, the track moves with a steady, hypnotic pulse, letting subtle textures and atmospheric details do the talking.

There’s a quiet confidence in how it unfolds—no rush, no unnecessary peaks—just a controlled groove designed for those 3AM moments when the dancefloor locks in and time starts to blur. Minimal yet immersive, it’s a functional but deeply absorbing dub that understands exactly where it belongs.

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