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  • Why Smartphone Photos Look Sharp on Your Phone but Soft on a Larger Screen

    Why Smartphone Photos Look Sharp on Your Phone but Soft on a Larger Screen

    Ever opened a phone photo on a computer and wondered why it suddenly looked blurry?  On a phone, the image may look clean and detailed because the screen is small. Open that same file on a larger display, and soft … Continue reading →

    The post Why Smartphone Photos Look Sharp on Your Phone but Soft on a Larger Screen appeared first on DMME.net.

  • Reviews: Left To Suffer, Leper Colony, Steak, Hell-Born (Jordan Griffiths, Mark Young, Joe Guatieri & Yasmin Mason)

    Left To Suffer – Unwelcome Guest (Hopeless Records) [Jordan Griffiths]

    This marks the third band in a row for which this review serves as my first listening experience. 

    I am a big fan of heavy music that gets your head going, and this album does not disappoint, from the first second of the very first track, on this 11-track album, simply named Track One, just HITS you. Deep, rhythmic chugs, accompanied by the squeal of a guitar that kicks you into the main depth of the song.

    STFU, starts off with a snippet from a reviewer stating how Left to Suffer is too much and takes away from their enjoyment of music, before the band promptly responds with the title itself. 

    What follows is essentially a diss track aimed at their critics, and the band’s lack of care, they will do what they want to do, and it works remarkably well, turning the outside criticism into fuel for one of the album’s most confrontational moments.

    While the album itself is very chug and breakdown heavy, it utilises very well timed melodic sections in a few of the songs, which really helps you take a step back and think “Oh okay.” These moments really do add the much-needed separation between the heavier sections, preventing the album becoming overly repetitive

    I feel that Taylor Barber’s vocals need proper attention too, they’re incredibly strong, and come with a hell of a lot of range, shifting almost flawlessly between deep, guttural lows and the higher fry screams, with almost effortless consistency.

    One of the largest issues with an album this heavily rooted in breakdowns and chugs, is how quickly it can devolve in repetitiveness, however, unwelcome guest, in my opinion, avoids this trap. 

    While the core sound remains heavy, and chuggified, the changes in pace, melody, and overall approach in the songs, gives it enough of its own identity to keep you interested all the way through.

    For a band that I had never listened to before this, Unwelcome Guest has honestly made an impression. There is enough going on underneath the top layer of heavy brutality, that makes me want to return, again and again, in which, I am going to! 

    This was truly a great listening experience. 8/10

    Leper Colony – Back To Primal Sludge (Testimony Records) [Mark Young]

    I love that some bands just cannot help having their influences front and centre in their sound. I think it shows that, at heart, they are fans like the rest of us, only a little more motivated to do something mental like form a band.

    Leper Colony are that kind of band, delighting in building a hybrid American/Scandinavian sound that borrows proudly from the old-school classics they are attempting to usurp. 

    In their favour is a healthy approach to the form: discordant lead breaks, tempos that shift to suit the moment, and a razor-sharp production where nothing is missed. It also works against them in some respects, but we will get to that.

    Madness Is A Kingdom sets the table nicely, serving up that hybrid approach straight away. What follows is a track that motors along, changing pace and direction as required, particularly during the chorus. 

    There is a strong At The Gates presence throughout, although that is hardly unusual in melodic death metal, and it is certainly no bad thing. 

    What it does suggest, however, is that the band may lean a little too heavily into that sphere, to the point where their own identity occasionally fades into the background. Even so, it contains a crushing section that tees up the final minute perfectly.

    Any band that samples Zombie Flesh Eaters gets a thumbs up from me. Possibly they missed a trick by not having a song called Ocular Trauma, but still, These Blades follows and delivers a short, rough burst of aggression that brings a touch of punk to proceedings. 

    One thing that becomes increasingly apparent as Dead Soul Consortium kicks off is that they have a preferred set of tricks and moments that they return to repeatedly. It is not that they are not very good at what they do, or that they are not heavy, because they absolutely are. It is just that I do not find it especially exciting.

    If you read our reviews with any regularity, and you are unfortunate enough to encounter one of mine, you may have noticed I occasionally mention my commute being the time when I review music. If an album does not sustain that journey, it gets relegated to the “OK” pile. That is what happens here. 

    Each track arrives feeling like a variation on a limited formula. From Thrown To The Pigs, which mixes melody with something slightly off kilter, through to Flesh Grater, the songs are perfectly serviceable. There is nothing wrong with them at all, but I struggle to think of them as being anything more than workmanlike.

    Beneath The Fat And Gristle closes things out and sees the album finish much the same way it started. It moves with a swagger, changing speed whenever necessary and delivering exactly what it promises. Again, it is fine at what it does, which is something that can be applied to the album as a whole.

    In all honesty, I am probably being a bit harsh on it. There is an energy running through these songs, one fuelled by the fact that the band are obviously massive fans of the style themselves.  That enthusiasm is infectious, even if the album never quite breaks free of the influences that define it. And possibly for some that will be just what they want.

    After all there is no messing on here with stretched out beginnings or overlong songs. They just do what they need to do and then on to the next one. 7/10

    Steak – Steak (Stickman Records) [Joe Guatieri]

    Steak are a long-running Stoner Rock band from London, England, forming back in 2010. The band have a storied discography of plenty of EPs and records to their name, including a well-regarded joint-single with famed Swedish band Greenleaf, being released as part of the DesertFest series in 2017.

    I have known about Steak for a good while now, my first exposure to them was in 2023 when I saw them open up for Slomosa and Elder at The Fleece. They really impressed me that night with their heavy driving grooves, taking their songs to interesting places. Now after that it seems fitting for me to review their latest self-titled effort in 2026.

    The record opens with Cometh, a song that feels oddly familiar to me upon first listen with its fuzzy guitars which try to cover up the sky, drawing an image of a car driving through a desert at a high speed, forming a big sandstorm behind it which is definitive to Stoner Rock as a genre. It keeps heaviness as a constant with an atmospheric approach, it doesn’t try to bury you in its groove, more so float things in patiently until they sit with you comfortably.

    Track two, presents us with Luxury Junk, starting with a spacey touch of guitar, searching for a known mystery, being reminiscent of Odyssey by Kyuss. You don’t find anything as of yet but you’re still sure that there was something around, you keep that thought with you as you return to your car and rev it up again. Luxury Junk provides excitement throughout for me, the instrumental accentuates this bubbling up before stretching out its hand. The best bass playing across the entire album is also provided here as its rumbling tone sticks out like a sore thumb, leading the charge with thumping drums.

    The song then moves to another level as after reflection, by 4:01 there is a fabulous drum break as the world starts to dance, everything comes back together and we are left with our face melted going into the sunset. Steak takes a page out of the Slomosa book Luxury Junk and channels a sense of victoriousness into a lovely song, definitely my favourite from the LP.

    Later on we go into track six with Infinite which is the poster child of the album as a whole. It takes the vocalist and places them front and centre, crafting the tune around them, prioritising melody. It leads to an effect where Infinite washes over me, it leaves me in a place where I think to myself, it’s alright for a head band when interesting patterns and riffs pass by but it doesn’t capture me or put me into its own world, it’s just there.

    Again, a lot of this record I have similar feelings to this where it’s uniquely misplaced, a lot of the more progressive Stoner Rock bands out there play with my expectations where I can’t wait to see what’s next, where as with Steak here, I find myself tapping my foot and looking at my watch. It appears to me that they are big fans of Alice In Chains, especially in the vocals where they join together but it doesn’t exercise an emotional depth to me. It comes across as being more for show then something that is needed in order to bring the exclamation point to a high point, it’s like climbing up a diving board and refusing to dive off of it.

    Overall, this Steak album hasn’t spoilt the band for me. There is still a lot that I like about them, they know how to bring out enjoyment in me and there is no doubt in my mind that they are fabulous musicians. I just wanted more grit here and above all else, for Steak to be loud and proud. 6/10

    Hell-Born – VII (Deformeathing Production) [Yasmin Mason]

    VII is the latest offering from Poland’s Hell-Born who are led by ex-Behemoth drummer Baal.

    The album opens with Therion Calls, an ode to the apocalypse. “Apocolypse is here!” shouts Baal over ferocious drums and guitars. His vocals are giving vibes of something I can’t quite place – but there’s a definite old school feel to them. Chaotic Entities continues the ferocity with an excellent guitar solo providing a melodic reprieve towards the end of the track.

    In Scarlet And Death brings the tempo down a little while continuing to showcase those melodic guitar riffs, while Blood In Stone hits us with blast beats from the start. The remaining three tracks continue in the same vein with a smattering of keyboards adding extra atmosphere to Funeral Of All.

    My main critique of this album is that – for me – there isn’t enough variety. Each song is structured similarly (atmospheric intro, in your face riffs, melodic guitar solo, repeat) and part way through the album I find my attention starting to wander. While I enjoy Baal’s vocals, it would be nice to hear him experiment with something a little different at times.

    However, if you enjoy old school melodic black/death metal, this album is certainly worth a listen. 6/10
  • Staind return with heavy new single, Ghosts

    Posted on October 14th 2026, 12:18pm

  • Watch America’s Got Talent winner Nene Royal fulfil a dream by joining her favourite band Avenged Sevenfold onstage

    America’s Got Talent 2026 winner Nene Royal fullfiled one of her dreams last night, October 13, when she appeared onstage in Singapore with her favourite band, Avenged Sevenfold.

    Royal, the 16-year-old Thai star who won the world’s best known talent contest after dazzling judges and TV viewers with fiery covers of The White Stripes Seven Nation Army and Linkin Park’s. The Emptiness Machine, was a late addition to the support bill for Avenged Sevenfold’s show at the Singapore Indoor Stadium, and entertained the crowd with her covers of Soundgarden‘s Black Hole Sun, Muse‘s Hysteria, and Rage Against The Machine’s Killing In The Name, among others.

    Royal was then invited to join A7X onstage to guest on Bat Country and Unholy Confessions.

    When Royal spoke to Metal Hammer last month, she admitted that she was both excited and scared at the prospect of playing with her heroes at the 12,000-capacity venue.

    Explaining how she landed the gig, the vocalist/guitarist from Phuket said, “The managers in Singapore text me: ‘Oh, I hear you wanna play with Avenged Sevenfold?’ I was like, Yeah! They said, ‘Well, Avenged Sevenfold want you to support them.’ They asked me, ‘Do you wanna do it?’, and I was like, Yeah! Dreams come true. Incredible.”

    Watch the teenage sensation guest with her favourite band below.

    US TV talent shows have thrown up a number of artists who have gone on to enjoy successful careers, including Kelly Clarkson, who triumphed on the very first season of American Idol, metal-loving country star Carrie Underwood, who won the show in 2005, Adam Lambert (runner up in the eighth season of American Idol in 2009), and Daughtry (fronted by Chris Daughtry, a finalist on American Idol in 2006).

  • Reliqa Announce New Album ‘High Risk Thoughts’

    Reliqa have announced the details of their second full-length album, the follow-up to their 2024 debut ‘Secrets Of The Future’.

    Titled ‘High Risk Thoughts’, it will be released on February 12 via Nuclear Blast.

    The artwork looks like this:


    Whilst the tracklisting is more like this:

    1. Serum
    2. Hands to the Ceiling
    3. High Risk Thoughts
    4. Quiet Coda
    5. Your Touch
    6. Cemetery Roots
    7. One Word
    8. Unguarded
    9. Digital Heaven
    10. Nobody Survives This

    You can also check out opening track ‘Serum’ right now as well. A haunting, crushing, thoughtful piece of modern metalcore brimming with spine-tingling melodies and brutal chugs, it is a sensational introduction to the project. One that showcases how the band have utilised their previous strengths and expanded into brave new waters all at once.

    The band had this to say about it:

    ‘Serum’s sound represents a sort of bridge from where we were to where we are now, so it felt apt to have it not only open the new record but also mark its announcement to the world. It’s low and menacing with a mechanical edge (heavily inspired by the Danish prog legends VOLA), but we’ve also loaded it with some fun twists and turns, all part of our long-held goal to condition our listeners to expect the unexpected and be open-minded. This is the only song on the record that we’ve been consistently playing live for some time now and the reception has been full of energy, giving us high hopes for the rest of the album’s verdict.”


    You can also hear the sensational ‘Your Touch’ now as well:


    Reliqa will be making their first-ever trip over to the US next year as support for Northlane. Here are all of the dates:

    FEBRUARY 2027

    12 – SACRAMENTO Ace of Spades
    13 – ANAHEIM House of Blues
    14 – MESA Nile Theater
    16 – DALLAS South Side Music Hall
    17 – SAN ANTONIO Vibes Event Center
    18 – HOUSTON White Oak Music Hall
    20 – ORLANDO House of Blues
    21 – ATLANTA The Masquerade (Heaven)
    23 – CHARLOTTE The Underground
    24 – BALTIMORE Baltimore Soundstage
    26 – PHILADELPHIA Brooklyn Bowl
    27 – NEW YORK Irving Plaza
    28 – BOSTON Paradise Rock Club

    MARCH 2027

    02 – MONTREAL Beanfield Theatre
    03 – TORONTO Danforth Music Hall
    05 – DETROIT St Andrews Hall
    06 – CHICAGO House of Blues
    07 – MINNEAPOLIS Varsity Theater
    08 – DENVER Summit Music Hall
    10 – SALT LAKE CITY The Grand @ The Complex
    13 – CALGARY The Palace Theatre
    14 – EDMONTON Midway
    15 – VANCOUVER Commodore Ballroom
    17 – SEATTLE Neptune
    18 – PORTLAND Roseland Theater

    The post Reliqa Announce New Album ‘High Risk Thoughts’ appeared first on Rock Sound.

  • Sunn O))) – A Towering Wall Of Sound And Smoke Engulfs Boston’s Paradise Rock Club

    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk

    If my search skills are to be trusted, Sunn O))) have never been mentioned at MetalTalk. It is not that surprising, given their extreme niche in the Metal world, albeit a niche that has grown to the size where this sonically and physically challenging band can sell out a 1,000-capacity room on a Monday night.

    Sunn O)))

    Paradise Rock Club, Boston – 12 October 2026

    Words And Photography: Tim Bugbee

    Like most bands of the Metal/Drone crossover, the duo of Greg Anderson and Stephen O’Malley owe more than a bit of sonic debt to The Melvins.

    But instead of King Buzzo’s and Dale Crover’s knack of grafting catchy melodies to heavy songs, O’Malley and Anderson increasingly sharpened their focus on sound, and lots of it.

    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk

    It has been interesting to see their progression, starting with Burning Witch and then via Goatsnake and Khanate, crafting a sound where the timbre and volume are just as, if not more, important to the actual notes played. 

    Before I entered the club, someone with a Sunn O))) hoodie walked past, and as a merch item/declaration of intent, the phrase “ever breathe a frequency?” inked on the back could not have been more appropriate.

    One does not go to a Sunn O))) show to dance or sing along. It is more of an endurance test.

    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk

    The stage is ringed with twelve massive 4×12 Hi-Watt cabinets, flanked on either side by huge Ampeg bass cabinets, three atop each other on their sides, all powered by a mix of vintage Ampeg and Sunn O))) pre-amps.

    If you want to re-create their backline, I hope you are a scion of some industry magnate because these do not come cheaply. Amazingly, there were no reports of local brownouts.

    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk

    The other primary hallmark of a Sunn O))) show is their unbridled use of chemical fog, with two massive jets shooting occasional plumes from each side of the stage and more from behind the wall of amps (aka ‘Tonehenge’).

    The haze stretched far beyond the main room, past the loos and nearly into the front room. I am sure most people left the venue carrying a lot more glycol and glycerin in their lungs on the way out than on the way in. 

    Have I mentioned the robes yet? The massively crawling and suffocating riffs, slower than a glacier making its way to the ocean, along with everything else, make a performance more like an experience than a concert, the stark opposite of a sensory deprivation tank.

    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk

    After firing the smoke machines on an infrequent cycle, the PA broadcast the infamous live Venom 7″ that Thurston Moore put out on his label years ago. RIP, Cronos. 

    Though Sunn O))) might be the world’s worst ‘Name That Tune’ band, some intrepid soul figured out the minutiae between the long drone tracks to take a stab at deciphering the set list, which was written in runic characters.

    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk

    Remember the endurance claim? Starting a show with an hour-long song is a nice throwback to Sleep when they played Dopesmoker as support for Hawkwind back in the ’90s. Invisible oranges were clutched, heads slowly bobbed, and eardrums cowered in fear for their lives.

    Yep, just another Sunn O))) show. 

    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk

    David Grubbs

    Smartly, another loud sludge/doom/drone band was not added as a supporting act, and instead legendary guitarist David Grubbs took a seat in front of Sunn O)))’s towering backline with just a small practice amp powering his Telecaster.

    David Grubbs - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    David Grubbs – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk

    Grubbs’ first band was the pre-Slint Hardcore band Squirrel Bait. But he quickly branched off into noisier (Bastro) and more esoteric (Gastr Del Sol) directions and has spent the last couple of decades making inscrutable music either solo or with like-minded voyagers.

    The proverbial calm before the storm was a welcome counterpoint. 

    David Grubbs - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    David Grubbs – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) - Paradise Rock Club, Boston - 12 October 2026. Photo: Tim Bugbee/MetalTalk
    Sunn O))) – Paradise Rock Club, Boston – 12 October 2026. Photo: Tim Bugbee/MetalTalk
    The post Sunn O))) – A Towering Wall Of Sound And Smoke Engulfs Boston’s Paradise Rock Club first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • Boilersuit – Wait


    Boilersuit is Washington DC’s latest powerhouse rock ‘n’ roll act: a swaggering four-piece made up of seasoned veterans from the local scene. With former members of Bencoolen and Miss Monster, they’ve played hundreds of shows across the East Coast, from raucous frat parties to major festivals and top DC venues. Fans of The Black Crowes, Galactic, Heart, and Tedeschi Trucks Band will feel right at home. No gimmicks here—just boilersuits, tight grooves, roaring guitars, and soaring vocals. It’s gonna get loud.

    Their new track “Wait” is a dynamic alt-rock gem, driven by powerhouse female vocals and a killer guitar solo, balanced by quieter verses and a thoughtful bridge. Think Audioslave with shades of Ann Wilson from Heart in Galen’s voice. Lyrically, it’s a heartfelt plea to be heard, even if only by one person. The arrangement shines with shifts in intensity, tasteful guitar work, clean melodic vocals, and a searing solo. It’s a top-notch song—beautifully performed and thoroughly enjoyable from start to finish.

    Give it a go by clicking on the Spotify player below and follow the band if you like what you hear.

    https://instagram.com/boilersuit.band
    https://tiktok.com/@boilersuit.band
    https://facebook.com/profile.php
  • Carnation – ‘Boundless Pathways’ Song Unveiled

    Carnation have debuted a music video for “Boundless Pathways”, the last advance single from their Symphony In Flesh album which comes out this Friday, October 16.
    Read more…
  • BLACKGOLD Share Funky new Track ‘KILLAZ’

    BLACKGOLD are about to head out on the road, and they have shared a new track that they most definitely will be playing.


    Titled ‘KILLAZ’, it sits on the more hip-hop side of their expansive and celebratory sound, allowing them to have some real fun between the beats and the bars. Funky as it comes and full of fun little jabs and references, it’s very much a song that represents the essence of the band whilst also showing off some of who is behind the mask.

    It also features an appearance from rapper Woes, who the band discovered whilst out in Austin for SXSW earlier this year.

    Vocalist Spookz had this to say about it all:

    “‘KILLAZ’ feels like letting the mask slip just enough to show a different side of what BLACKGOLD can be. It’s bouncy, chaotic, full of attitude and doesn’t sit still for a second. Finding Woes busking in Austin and then ending up making a track together felt completely in the spirit of this band – unexpected, a bit unhinged, and somehow exactly right.”


    BLACKGOLD will be making their way around the UK and Europe later this month. Here are all the dates:

    OCTOBER

    28 – BRISTOL Thekla
    30 – LONDON Underworld
    31 – TORQUAY The Foundry

    NOVEMBER

    05 – MANCHESTER Ambers
    06 – GLASGOW Classic Grand
    07 – BIRMINGHAM O2 Institute2
    18 – UTRECHT DB’s
    20 – COLOGNE Artheater
    22 – HAMBURG Logo
    23 – COPENHAGEN Pumpehuset
    24 – BERLIN Badehaus
    26 – WARSAW Hydrozagadka
    27 – BIELSKO BIALA Rude Boy
    28 – PRAGUE Cafe V Lese
    30 – VIENNA Viper Room

    DECEMBER

    01 – NUREMBERG Club Stereo
    02 – ANTWERP Kavka
    03 – PARIS Backstage By The Mill

    The post BLACKGOLD Share Funky new Track ‘KILLAZ’ appeared first on Rock Sound.