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‘Sodom: The Official Authorized Biography’ will be published by Decibel Books.

The post Sodom’s Official Biography Set For English Release In May appeared first on Theprp.com.

Kevin Abstract is always full of surprises. The former Brockhampton leader and prolific solo artist recently toured Australia and New Zealand supporting Lorde, and during his time in Oceania, he paid a visit to Triple J’s studio to record a contribution to their Like A Version covers series. His chosen song is “Goodbye Horses,” the darkwave classic by Q Lazzarus made famous by The Silence Of The Lambs. Abstract was accompanied by two violins and two cellos, and he read the lyrics off his phone — partially because he thinks the Marty Mauser picture on his lockscreen looks cool, he said in a behind-the-scenes video.

The post Kevin Abstract Covers Q Lazzarus’ “Goodbye Horses” With A String Ensemble appeared first on Stereogum.

Godless Sky is the limit.

The post Inferi’s “Godless Sky” Music Video Now Streaming appeared first on Theprp.com.

Scantlin was arrested in March 2025 after police were called to investigate a domestic dispute and found drugs on his person. Continue reading…

Scantlin was arrested in March 2025 after police were called to investigate a domestic dispute and found drugs on his person. Continue reading…

American heavy metal icons, Armored Saint, are back with their anticipated new full-length release,’Emotion Factory Reset‘, set for release on May 22nd through Metal Blade Records. ‘Emotion Factory Reset‘, the line-up’s ninth studio album since 1984’s ‘March Of The Saint‘, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of […]

The post Armored Saint To Release Ninth Studio Album ‘Emotion Factory Reset’ On May 22nd appeared first on ROCKPOSER DOT COM!.

New England metalcore heavy hitters In Shallows return with Side Effects, an exploration of what one exchanges for the sake of “getting better.“ “Side Effects is about the quiet ways things go wrong when a solution ends up being part of the problem. It follows the slow drift of someone you care about, convinced they’re […]

Leave it to the cool folks at Decibel Books to do something great for the fans of bands like German thrash outfit Sodom. Earlier today, they announced that they’ll be releasing an English version of Sodom: The Official Authorized Biography with the blessing of the legendary German thrash outfit themselves. It will be the first time the book will be published in English.

With just over 300 pages, the hardcover release will feature interviews with every current and past member, more than 200 rare and previously unreleased photos, and even more deep dive content for fans to sink their teeth into. The whole thing just dives into the insanity that was thrash metal in the early 80s when Sodom was working on their debut release In the Sign of Evil and breaking out.

The official synopsis for the book reads as follows:

“Decibel Books proudly presents Sodom: The Official Authorized Biography, the fully authorized biography of the German thrash legends Sodom, finally painstakingly translated into English!

“With Sodom: The Official Authorized Biography, Dr. Holger Schmenk visits the deepest basement rehearsal rooms and scours the roughest pubs to unearth the unfiltered truth about Tom Angelripper and his ever-changing lineup of bandmates.

“From their wild early days of the Witching Metal demo to their international breakthrough with Agent Orange, and right up to the present day – Schmenk tells the unvarnished story of a thrash metal legend that has gone through more guitarists than other bands have gone through amplifiers.”

If that wasn’t enough to excite you, Decibel Books is offering an exclusive excerpt to check out before you ultimately decide to preorder the damn thing. The book is expected to ship late May/early June, so you’re gonna want to get your order in soon.

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The post Sodom’s Official Biography is Getting an English Version appeared first on MetalSucks.

Drummer Terry Cox was part of the classic Pentangle line-up alongside Jacqui McShee, Bert Jansch, John Renbourn and Danny Thompson

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent¹ to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

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Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

The post Dwellnought – Monolith of Ephemerality Review appeared first on Angry Metal Guy.