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Since spewing out from the Swedish death metal scene back in 1996, Vomitory have been one of the most consistent acts in extreme metal. Album after album of no-frills, brutal, yet enthralling Swedeath emerged from the puke shack, and you could always look forward to getting something gruesome and sick from them. They had a long layoff after 2011s Opus Mortis VIII, but when they came back with 2023s All Heads Are Gonna Roll, it was as if they never left at all. That platter was tried-and-trve Vomitory: aggressive, heavy, abrasive, but weirdly catchy. Now they’re back in the hunt with 10th album, In Death Throes, sporting new axe worker Christian Fredriksson in place of Peter Östlund. Is this corpse still delectable and appropriately unsavory? Will their simple but effective template finally start to show signs of metal fatigue? Let’s discuss these questions at the Vomitorium.

Mere seconds into opener “Rapture in Rupture,” you know you’re in for a good, rough time. This is Vomitory in all their putrid glory. HM-2 powered riffs buzz loudly like diseased insects, drums thunder and blast, and Erik Rundqvist roars over the chaos like a sick wilderbeast in heat. The energy level is set to “Berserk Meth Nutter on Crack,” and the riffs work to peel away your skin and degrade your bone structure. It offers nothing you haven’t heard before, or even something you haven’t heard from Vomitory before, but that matters not at all because this shit kills. Lead single “For Gore and Country” keeps the adrenaline and testosterone pumping with more high-speed gore and near-grind death, and it’s a joy to be bulldozed by it. The band refuse to ease back on the death throttle until 4th track, “Wrath Unbound,” where they slot into Bolt Thrower territory and appropriate that war-loving crew’s iconic riff palette for a bit of tank-in-the-muck grinding. It works very well, though it makes me long for a new Bolt Thrower album.

Elsewhere, “Cataclysmic Fleshfront” goes extra fast and mean on those still left in the fight, at times verging on beef-brained slam in a way that will bring Dolphin Whisperer to the yard faster than any cheesy milkshake ever could. This is abrasive, brain-deadening shit, but Vomitory uses the chaos to try a few new things, and damn if those big chugs aren’t satisfying. If you were to play this at the gym, your primal ape rage would increase tenfold as other gym goers fled in terror. “Two and a Half Men” introduces a simple yet effective riff, then absolutely beats you into a bloody pulp with it for 3 in the most relentless way possible. I mean this as a positive. Closer “Oblivion Protocol” injects interestingly melodic and moody harmonies into the mix, possibly as a balm to help you recover from the 30-plus minute mega-ass whopping they just put on you. It’s a cool changeup, and it sticks out. Are there lesser moments? I suppose one could say “Forever Scorned” isn’t quite as tremendously murderous as its peers, but it’s still a good song with loads of death boulders to hurl. At a very tight 38-plus minutes and with all songs in the 3-4 minutes window, In Death Throes blows your head off and then fucks off in quick order. Nothing stays too long or feels bloated. At the same time, the songs all have their own identity and don’t bleed into a revolting mush as they easily could with a less practiced hand at the wheel.

I’ve always been a huge fan of Erik Rundqvist’s death vocals, and In Death Throes is another testament to his unnatural abilities. His roars are just guttural enough to hit that subhuman level and add the right amount of sick extremity to the material. He isn’t puking up nuclear hairballs a la Cryptworm, but he doesn’t sound restrained either. Longtime guitarist Urban Gustafsson pairs well with newcomer Christian Fredriksson and together they uncork a nonstop succession of ragged, jagged riffs designed to traumatize and harm. They even toss a killer Exodus riff into “Erased in Red” that’s better than what we actually heard from Exodus recently. Tobias Gustafsson has the unenviable task of keeping up with the rest of these maniac mauraders, and his kit work is frantic, frenzied, and just technical enough to satisfy. Once again, Vomitory stick to what always worked for them, and somehow, it works as well now as it did in 1996.

Vomitory made a fierce comeback in 2023, and now they’re showing it was no late-career fluke with In Death Throes. This is a rowdy, skull-crushing death metal opus with plenty of meat to chew on. All that meat is rancid, so all the better! Trust in Vomitory and get your ears assailed by this blasty bastard. It would be wise, my friends.

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Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: vomitory.net | vomitory.bandcamp.com | facebook.com/vomitoryband | instagram.com/vomitoryband
Releases Worldwide: April 10th, 2026

The post Vomitory – In Death Throes Review appeared first on Angry Metal Guy.

Jah Gordy delivers a pretty smooth R&B treat, dripping with a fresh, effortless cool and a steady, flowing groove. The track glides on silky production, where mellow beats and subtle melodic touches give space for the vocals to breathe and unfold naturally. There’s a quiet confidence in the delivery—nothing forced, just a clean, modern sound that feels both laid-back and emotionally in tune.

It’s the kind of track that doesn’t chase attention but earns it, blending warmth, finesse, and a hint of edge into something easy to sink into and hard to skip.

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In 2024 — a couple of years after she likened Alex Jones’ Sandy Hook conspiracy theories to celebrities advocating for COVID vaccination — M.I.A. appeared on Jones’ show Infowars to promote Ohmni, her line of clothing which she claimed blocked 5G. Today the artist has announced her first album since then: M.I.7, which is out in just…

The post M.I.A. Announces New Album, 10G-Blocking Clothing appeared first on Stereogum.

Thirty-three years ago in 1993, Porcupine Tree performed their debut gig at The Nag’s Head in High Wycombe. A year prior, Steven Wilson’s experimental double album On the Sunday of Life laid the groundwork for the band’s sound. Now, in 2026, Voyage 35 invites fans on a nostalgia trip back to those heady days through the doors of “The Nostalgia Factory”— a unique cover version of a standout track from that debut album.

The reimagined eight minute version of the song pays homage to Porcupine Tree’s formative era, where the spirits of ’60s and ’70s space rock collided to create an intoxicating, psychedelic symphony. Whilst acknowledging that past, ex Porcupine Tree members Colin Edwin and John Wesley Dearth are intent on driving the music firmly toward the future.

“There is so much love for the early Porcupine Tree material, and many people have expressed a desire to hear it again,” Colin Edwin told Louder Sound. “As the band evolved, much of this music fell by the wayside. It feels right to revisit it now with a fresh approach and new musical talent.”

John, who joined the band’s touring lineup in later years, shares that enthusiasm: “I’ve always been intrigued by the band’s early period. I’m really looking forward to playing these songs live and seeing where we can take them.”

While Porcupine Tree famously spearheaded a progressive rock revival with 2002’s In Absentia, the decade of incredible music that preceded it remains a fan favourite—much of which was never performed live. Those lucky enough to witness the band’s formative years remember a sense of languid experimentalism and spaced-out improvisation, all enhanced by the immersive projections of the Fruit Salad Lightshow.

Reunited with that original visual magic, Voyage 35 will head out on a short tour of Italy, Germany, the Netherlands, and the UK in September 2026. Fans can also look forward to some very special guests at the London show.

Tour Dates:

Fri 4 Sep Revislate, Italy Campo Sportivo
Tue 8 Sep Aschaffenburg, Germany Colos-Saal
Thu 10 Sep Utrecht, Netherlands TivoliVredenburg
Fri 11 Sep Uden, Netherlands De Pul
Sat 12 Sep Zoetermeer, Netherlands Boerderij
Tue 15 Sep Bristol, UK O2 Academy Bristol
Wed 16 Sep London, UK O2 Shepherd’s Bush Empire
Thu 17 Sep Manchester, UK O2 Ritz
Fri 18 Sep Newcastle, UK The Grove
Sat 19 Sep Glasgow, UK The Classic Grand

The post Colin Edwin & John Wesley’s Voyage 35 shares new version of Porcupine Tree classic “The Nostalgia Factory” appeared first on The Prog Report.

Broward County by Curtis Smoove hits with that raw, street-rooted energy that feels both nostalgic and immediate. There’s a clear Southern pulse running through it—hard drums, bouncing rhythm, and a flow that carries weight without trying too hard. You can hear echoes of classic influences, but it stays grounded in his own story, turning lived experience into something direct and unfiltered.

What makes it stick is its linear, no-frills drive—no distractions, just bars, groove, and attitude. It’s the kind of track that moves between storytelling and movement effortlessly, equally built for the streets and the dance floor. Authentic, catchy, and built to ride loud.

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It’s the Rat Queen’s world, we’re just living in it now

Julia Wolf has announced the details of the DEEP END WORLD TOUR, which will see her taking over venues across America and Europe.

And she will not be going out alone. If you are in the US, you will be treated to a gorgeous opening set from Bee Blackwell. And if you’re in the UK or Europe, you’ll experience the brutality of SCRO.

So that’s some of this:

Or some of this:

Before loads of this:

Here are all the dates on both sides of the Atlantic:

SEPTEMBER

10 – FORKS Forks Forever Festival (Free Acoustic Set)
17 – AUSTIN Mohawk
18 – DALLAS The Bomb Factory
19 – HOUSTON Warehouse Live
21 – ORLANDO House of Blues
23 – ATLANTA Masquerade (Heaven)
25. CHARLOTTE The Underground
26 – NASHVILLE Eastside Bowl
28 – WASHINGTON 9:30 Club
30 – PHILADELPHIA Union Transfer

OCTOBER

02 – NEW YORK Irving Plaza 
05 – BOSTON Paradise Rock Club
07 – TORONTO The Opera House
09 – COLUMBUS Newport Music Hall
10 – CLEVELAND The Roxy at Mahall’s
12 – GRAND RAPIDS Elevation
13 – INDIANAPOLIS Hi-Fi Annex
16 – DENVER Summit
17 – SALT LAKE CITY The Depot
20 – PORTLAND Wonder Ballroom
21 – SEATTLE The Showbox
23 – SAN FRANCISCO Great American Music Hall
25 – LOS ANGELES Fonda Theatre

NOVEMBER

17 – DUBLIN Button Factory
19 – GLASGOW Garage
20 – LEEDS Stylus
22 – BIRMINGHAM 02 Institute 2
23 – MANCHESTER Academy 2
25 – LONDON KOKO
28. COLOGNE Luxor
30 – PARIS La Maroquinerie 

DECEMBER

01 – AMSTERDAM Tolhuistuin
02 – BRUSSELS Botanique
04 – BERLIN Hole 44

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A post shared by Julia Wolf (@juliawolfnyc)

Julia recently released a new collaboration with Yeat titled ‘My Way’ that sounds like this:

She also joined forces with producer John Summit for an incredible track. That is titled ‘WITH ME’ and sounds a lot like this:

The post Julia Wolf Announces US and UK/EU Tour Dates appeared first on Rock Sound.

The Rock and Roll Hall of Fame inductee tells UCR in a new interview how he's dealing with being the last man still touring from the legendary group. Continue reading…

Monday, hours after the Strokes shared a brief teaser for their new album Reality Awaits, it became apparent that the band had mailed cassettes featuring new single “Going Shopping” to 100 fans. Because this campaign was coordinated by someone who knows what they’re doing, the Strokes also had a show Monday night in San Francisco at Bill Graham Civic Auditorium ahead of the band’s Coachella appearance this Saturday. This gave the Strokes the chance to perform “Going Shopping” in public for the first time.

The post The Strokes Give New Song “Going Shopping” Its Live Debut In San Francisco appeared first on Stereogum.

Whatever, Forever by Gravegonzo drifts in that hazy space where time feels stretched and slightly unreal. The blend of 808 pulses, melancholic synths, and soft, distant vocals creates a mood that feels both intimate and detached, like watching memories replay from afar. There is a quiet heaviness underneath, a sense of things slipping away while still trying to hold shape. It does not push for impact, it lingers, slowly wrapping around you.

A dreamy, introspective piece that turns emotion into atmosphere, letting it echo rather than resolve.

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