For several years No Clean Singing has been a proud sponsor of Culthe Fest in Münster, Germany, and we’re helping to spread the word about it again this year. The 2026 edition of the fest is imminent — it will take place over two days on April 4th and 5th. The fest will include performances […]
The post CULTHE FEST 2026 — EASTER TURNS DARK AND HEAVY appeared first on NO CLEAN SINGING.
Blood Incantation and Emperor recently embarked on the “Imperial Wrath” tour, with very limited dates in North America. Their show at the Concert Hall in Toronto marked the beginning of the 12-day trek, and things got off to a darkly immersive start.
For those of you who are not familiar, The Concert Hall is an iconic venue in Toronto. Having served as a Masonic temple from its opening in 1918 until the mid 60’s, it slowly transitioned to other functions, and operated under several different names, such as Rockpile and Club 888. At one point in the mid 2000’s, it was the home of MTV Canada, and the place received its current name in 2017. Through the decades, this location has hosted some pretty remarkable shows, including a legendary performance by Led Zeppelin in 1969, in which Geddy Lee and Alex Lifeson of Rush were in attendance.
If you’re a follower of Sonic Perspectives, you might remember we covered a show at The Concert Hall almost exactly two years ago (Find the story here). Some things never really change, and just like in 2024, this was a very cold evening in the city, and the issues of getting into this venue on time are still present. As a consequence of the issues at check-in, the merch line was still quite long when Blood Incantation came to the stage, at 8 PM sharp.
Having released what was arguably the best metal album of 2024, Absolute Elsewhere, Blood Incantation continues its trajectory toward becoming a stable live act, attracting larger crowds with each new tour. The last time they played here, at the tail end of that same year, it was a sold-out show. And just like the last time, their set tonight included “Absolute Elsewhere” in full. Their show is a continuous experience, where one song flows into the next with no break. With influences ranging from Death and Morbid Angel to Pink Floyd and Tangerine Dream, some of their songs go from a mellotron solo to a blast beat in a split second. Guitarists Paul Riedl and Morris Kolontyrsky alternate the leads, with Paul managing the vocals. And by vocals, I mean growls that would make Opeth’s Mikael Akerfeldt run for cover. Jeff Barret (fretless bass) and Isaac Faulk (drums) admirably hold the fort in the rhythm section, while keyboardist John Gamiño added the ambient layers that gave the band a cosmic feel.
In a full circle moment, Blood Incantation ended their set with “Vitrification of Blood (Pt. 1)”, the first song of their first album, 2016’s “Starspawn”. As more and more prog elements are added to their sound, they are clearly on an upward trajectory, and one can’t help but feel that their best album is yet to come.
Emperor came to the stage at 9:30 PM, and they had some catching up to do. The band hadn’t played in Toronto since 2018, and fans were eager to get their satanic fix for the night. As was expected, all the classics were present in their repertoire, including some deep cuts. They kicked it off with “Into the Infinity of Thoughts”, and the crowd erupted into utter chaos. In case you’re wondering, obviously classics such as “Thus Spake the Nightspirit”, “Curse You all Men!”, and ‘I Am the Black Wizards” were played. These days, my mind says pit, but my knees and shoulders say balcony, so after the first three or four songs, I had to make my way to the back of the venue.
The Norwegian stalwarts are a rare case of a band sounding tighter live than in the studio, and tonight was no different. The core of the band – Ihsahn (vocals, guitar), Samoth (guitar), Trym Torson (drums) – has the help of Secthdamon (bass) and Jørgen Munkeby (keyboards). Visually, there’s no corpse paint or spike-laden clothes. Just five regular guys playing face-melting, bone-crushing, legion-summoning metal. Fully conscious of the impact that their seminal albums had on the scene, Emperor has no desire to continue to release new music. Instead, their shows are a celebration of their legacy, and their followers embrace this philosophy in full. At this stage in their career, if the fans want to experience something new, their best bet is Ihsahn’s prolific solo output.
Their show reached a climax with “Inno a Satana”, and concluded with a definitive version of “Ye Entrancemperium”. As the final notes echoed into the cold Toronto night, it was hard not to feel like this was a passing-of-the-torch moment—whether intentional or not. Blood Incantation is clearly shaping the future of extreme music with its fearless experimentation, while Emperor continues to embody its spirit in its purest, most authoritative form. Different paths, same darkness—and for one night at The Concert Hall, they converged in spectacular fashion.
The post CONCERT REVIEW: EMPEROR & BLOOD INCANTATION Turned Toronto Into Extreme Metal’s Darkest Coronation appeared first on Sonic Perspectives.
Because their music hits an emotional nerve that newer listeners are actively searching for—while longtime fans never stopped feeding the ecosystem.
Deftones are surging due to TikTok exposure, rising “song meaning” searches, algorithm-driven discovery, and a catalog that connects harder today than it did when it first dropped.
There’s a difference between a band trending and a band pulling people in.
I am a hardcore Deftones fan. I’ll say that right out of the gate and I’ve watched this band move through phases for over two decades—radio peaks, quieter years, critical comebacks—but this current surge feels more like a shift in gravity than a temporary spike.
You don’t see this many new listeners asking deeper questions unless the music is landing in a very specific way.
And right now, it is.
There’s a difference between throwing a song on and actually staying in it.
What’s happening right now with Deftones isn’t surface-level listening. You can see it in how people talk about the songs—how they describe moments, lyrics, moods. It’s not “this riff is heavy.” It’s “this song makes me feel something I can’t quite explain.”
That’s always been the pull.
Tracks like “Cherry Waves” or “Mascara” don’t hand you a clean takeaway. They hang there. They leave space. And that space is exactly where listeners start attaching their own experiences.
That’s why people don’t just hear Deftones—they keep coming back to them.
Short-form video platforms pushed songs like “Cherry Waves” and “Sextape” into circulation again. That part is real, and it’s been covered in live reviews and industry write-ups, including reporting from The Guardian noting increased cross-generational attention at recent shows.
But that’s only the entry point.
If the music didn’t hold up, people would move on in seconds. Instead, they’re going deeper into the catalog.
That’s the difference between exposure and impact.
Look at some of the tracks that are currently trending:
“Cherry Waves” – An album cut from Saturday Night Wrist that is just an absolute sonic sound bath.
“Mascara” – Another rather deep album cut from Around The Fur that lulls you in before random explosions of late 90’s angst and sorrow.
“Passenger” – A standout track from White Pony about a sexual experience in a car. Tool’s Maynard James Keenan lends guest vocals.
“Sextape” – The third single from the band’s 2010 album Diamond Eyes which is the perfect pairing of simplicity and beauty.
None of these are structured for quick payoff. They’re slow burns. They build tension. They leave space.
And that’s exactly why they’re working right now.
Modern listeners aren’t just chasing hooks—they’re chasing atmosphere. Something immersive. Something that feels personal without spelling everything out.
Deftones have been doing that for decades.
A lot of bands from that era sound locked to their time.
Deftones don’t.
White Pony still sounds ahead of the curve. Saturday Night Wrist feels like something that could drop into today’s landscape without needing to be reintroduced. Diamond Eyes carries weight without feeling dated.
That kind of longevity isn’t accidental.
It’s what happens when a band builds around mood and emotion instead of trends.
Streaming changed everything.
Once one Deftones track starts moving, it feeds into:
From there, it compounds.
Listeners don’t “decide” to explore Deftones. They just keep getting pulled further in.
That passive discovery turns into active interest fast—especially when the music gives them something to hold onto.
Recent shows aren’t just packed—they’re mixed.
You’ve got longtime fans standing next to people who found the band through a 15-second clip.
That crossover matters.
Because it signals that this isn’t a throwback moment. It’s a shared experience happening in real time.
Fans looking to catch Deftones live in 2026 can get tickets here.
Most bands get remembered.
Deftones are being reabsorbed into the present.
That only happens when the music still answers a need people have now—not just one they had years ago.
And right now, people are looking for music that feels something instead of just sounding good.
Deftones have always lived in that space.
They just finally have an audience wide enough to match it.
Are Deftones popular again?
Yes. Streaming, search trends, and social platforms all show a clear surge in interest, especially among younger listeners.
Why are Deftones trending right now?
A mix of TikTok exposure, emotional song discovery, and algorithm-driven streaming has introduced the band to a new audience.
Which Deftones songs are trending?
“Cherry Waves,” “Mascara,” “Passenger,” and “Sextape” are seeing increased attention and search interest.
Is this just nostalgia?
No. A large portion of the current surge is coming from first-time listeners discovering the band now.
Deftones are an alternative metal band formed in Sacramento, California in 1988. Fronted by Chino Moreno, the band became known for blending heavy guitar work with atmospheric textures and emotionally driven songwriting. Breakthrough releases like Around the Fur and White Pony helped define their sound, while later albums continued to expand their influence across multiple genres.
The post Deftones Are Blowing Up Again Right Now—And It’s Not Just Nostalgia appeared first on Loaded Radio.
Wah-hawww, this isn’t good. ’90s alt-rock hitmakers Better Than Ezra, who were the subject of our Alternative Number Ones column last year, are holding a contest for fans to use a new AI platform to “write” a song for them. Better Than Eza frontman Kevin Griffin has been extolling the possibilities of AI music for at least a few years, and now he’s the co-founder of an AI music platform called Soundbreak. Yesterday, Griffin announced his contest in a social-media video, telling fans that the winning entry will be Better Than Ezra’s next single. Here’s what he has to say for himself:
The post Better Than Ezra Ask Fans To Write Their Next Single With AI appeared first on Stereogum.
Ecca Vandal has revealed all of the details of their upcoming new album, their first for Loma Vista Recordings.
Titled ‘LOOKING FOR PEOPLE TO UNFOLLOW’, it will be released on May 22.
Ecca had this to say about what the record represents for them, stating, “The systems. The trends. The illusions of connection. I find empowerment in being loud and noisey especially as a woman in this global moment who grew up in a culture that told me I could not be those things.”
The artwork looks like this:
Whilst the full tracklisting looks like this:
1. AIRPLANE MODE
2. EYES SHUT
3. SORRY! CRASH!
4. VERTICAL WORLDS
5. BLEED BUT NEVER DIE
6. CRUISING TO SELF SOOTHE
7. MOLLY
8. OKAY NOT TO BE OKAY
9. LEVITATE PART 1 & 2
10. LOOKING FOR PEOPLE TO UNFOLLOW
11. THEN THERE’S ONE
12. BLEACH
13. DID A LITTLE MORE TO FORGET
14. DO IT ANYWAY
15. DANCE IN DEBT
16. GHOSTS
17. CAME HERE FOR THE LOOT
The announcement has come with a new track dropping, too, in the form of ‘SORRY! CRASH!’, which follows on from the previous release of ‘BLEACH’ and ‘MOLLY’.
A frantic, kinetic blend of melody and mayhem, effortlessly blurring the lines between sounds and scenes, it is a brilliantly bonkers and sensational listen. A fork in the road for everything that Ecca Vandal stands for and wants to disrupt, delivered with intensity and intricacy.
Ecca will be making her Coachella debut later this month in the US, and in the UK will be at Outbreak Fest in Manchester in June and at Outbreak Fest x All Points East in August, alongside Deftones.
The post Ecca Vandal Announces New Album ‘LOOKING FOR PEOPLE TO UNFOLLOW’ appeared first on Rock Sound.
Posted on April 1st 2026, 3:36p.m.
Corrosion Of Conformity first flew into my radar via MTV’s flagship Heavy Metal show Headbangers Ball. I remember being blown away by the blistering Vote With A Bullet, and I picked up the album Blind shortly afterwards. That album was on heavy rotation, and when Deliverance dropped in 1994, I was fully along for the dirty, sweaty, Skynyrd-soaked ride. Now, they are back with the double album Good God / Baad Man.
Release Date: 3 April 2026
Words: Kenny Kendrick
Corrosion Of Conformity formed in 1982 and were initially a hardcore punk band. Their sound evolved into a blues-tinged, Heavy Metal behemoth, and they enjoyed considerable success in the ’90s. Bands such as Metallica gave them their seal of approval, and James Hetfield even guested on their 1996 album Wiseblood.
The band went through line-up changes and had periods of hiatus while main man Pepper Keenan recorded and toured with the supergroup Down. They continued without Pepper until 2015, when the classic line-up of Pepper Keenan, Woody Weatherman, Mike Dean, and Reed Mullin reformed to perform together.
Unfortunately, founding drummer Reed Mullin passed away in 2020. This proved to be a devastating blow, but the band vowed to soldier on in his memory. Pepper and Woody started writing during Covid, and they soon realised that they had enough songs for a double album.
“As we went on,” Pepper explains, “we had such a crazy plethora of songs, it was almost like two different directions, we knew we had to split it into two different albums. Then we came up with this concept.”
The concept was based on the title of the album, as Pepper further explains. “Our producer, Warren Riker, kept calling it Dark Side Of The Doom. In my head, it’s a weird love letter to all things rock ‘n’ roll. We used that for the freedom to go in different directions. Each album is its own tiny universe and has its own identity.
“Good God leans toward the heavier/pissed end of the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”
Drummer Stanton Moore and bassist Bobby ‘Rock’ Landgraf were drafted in for the recording of the album. I have to say that Moore’s performance is inspired. His stamp is all over the album, and Reed Mullin would appreciate the effort that Moore has put in to honour his playing.
The drum sound is huge. Hats off to Moore, he has done a superb job [Chef’s kiss]. However, just to add more of a twist, Nick Shabatura has now replaced Moore as COC’s drummer.
Both albums have a different story to tell with regard to sound and feel. Album one has more of a Deliverance/Wiseblood familiar feel. Album two has more of a funkier, straight-ahead blues-tinged rock ‘n’ roll vibe.
Album one opens with Good God?/Final Dawn. The track begins with a floating, Eastern kind of feel, before we get a blistering attack on the ears. Moore is flying around the kit with thirty-second notes that Dave Lombardo would approve of. Keenan snarls and growls. The riffs are mighty, and it is a fantastic introduction to the album.
You Or Me provides us with an atmospheric, punchy number with the band firing on all cylinders. This stuff is going to sound so good in a live setting. The album’s first single, Gimme Some Moore (see what they did there?), is one of my favourites from the album, with punk energy, chugging riffs, and classic COC energy. Fantastic! It even boasts backing vocals from none other than Al Jourgensen of Ministry.
Album one concludes with a nine-minute epic in Run For Your Life, a slow-burning, stoner anthem. This track in particular took me back to those heady days of the ’90s. Ah, when life seemed so much simpler.
Album two kicks off with Baad Man. I will let Pepper explain what the track is about. “It’s a weird ’70s rock stomper thing,” he says. “It’s about a guy who thinks he’s a badass, but he really ain’t.” I was nodding along all the way through. It has great, funky-ass energy.
Lose Yourself begins with something that sounds like it is from an ’80s TV show, before we get another foot-stomping, funkadelic top tune.
Asleep On The Killing Floor is an absolute barnstormer, dripping with a greasy, fuck you attitude. Handcuff County is a ZZ Top inspired blues jam. The band have apparently been listening to a lot of That Little Ol’ Band from Texas through Covid, and it certainly manifests here.
The album concludes with another spectacular tune, Forever Amplified. It features guest vocals from Anjelika ‘Jelly’ Joseph of the New Orleans jazz-funk band Galactic. She brings an almost Janis Joplin aura to the song and she can certainly belt it out.
The stellar production from Warren Riker really helps to propel the albums. Everything sounds monstrous, but it manages to hold on to that ’70s vibe that Corrosion Of Conformity does so well.
Good Man/Baad Man is an impressive return to form. If you loved the band’s output in the ’90s, you will absolutely love this.
Corrosion Of Conformity release Good God / Baad Man on 3 April 2026 via Nuclear Blast. Pre-orders are available from coccabal.bfan.link/ggbmlp. In June, the band will head to Europe and the United Kingdom for another run of live shows. The band also play Download in June. Full details below.
05/6/2026 Mystic Festival – Gdansk, PL
07/2026 South of Heaven Festival – Maastricht, NL
12/6/2026 Download Festival – Derby, UK
14/6/2026 Fabrikclub – Cagliari, IT
16/6/2026 Razzmatazz 2 – Barcelona, ES
17/6/2026 Mon – Madrid, ES
18/6/2026 Azkena Rock Festival Vitoria – Gasteiz, ES
20/6/2026 Graspop Festival – Dessel, BE
21/6/2026 Hellfest – Clisson, FR
01/8/2026 Wacken Festival – Wacken, DE
07/8/2026 Brutal Assault Festival – Jaromer, CZ
09/8/2026 PALP Festival – Brusson, CH