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  • Best Rock Albums of 2026 So Far, Ranked

    Classic rockers and some of their progeny are having a great year. Continue reading…
  • Upcoming Metal Releases: 7/12/26 – 7/18/26

    Here are the new releases for July 12th to 18th. Releases reflect proposed North American scheduling, if available.



    Upcoming Metal Releases: 7/12/26 – 7/18/26


    ÄxeAutogeddon | Caligari Records | Speed Metal + Black Metal | United Kingdom (London, England)

    With the umlaut on the A, seemingly just for the sake of it, and band members named Professor Speed and Nihil Kaos, Äxe isn’t afraid to embrace the cheese. Their fast-paced thrills embody a motorcycle-riding knight lopping the heads off demons to make a necklace out of. On their debut demo from last year, Warriors of the Death Raid, Äxe often felt like speed metal with black metal vocals. Not on the follow-up. The first notes of Autogeddon‘s lead single, “Warriors of the Death Raid” (sound familiar?), are much darker with raw screams that sound trapped in a car engine. Over six minutes long, the song dedicates time to both an enthusiastic guitar solo and a depressing outro of shrill chords. This surprising pairing of nocturnal and exuberant genres is captured perfectly within the raw black metal vocals that spontaneously burst into high-pitched wails resembling a baby falling from a window. 34 minutes of merciless metal that digs its fangs in your neck and shreds your innards – metal that makes the most lubugrious listeners dance to its punk pace. The band’s second demo informs listeners that the äxe’s edge is sharpened.

    –Aidan Sibley




    EmptinessNowhere Speaks | Season of Mist | Avant-garde Death Metal | Belgium (Brussels)

    Try to recall your last dream. Maybe elements of it appear to you, incoherent dialogues and movements that felt unnatural. A world so close to reality with abnormalities that make it unnerving. Nowhere Speaks is like a memorable dream of death metal. A revisitable dream. Emptiness retains small elements of death metal but creates a disorienting world from them. Blast beats and dissonance are found throughout but cloaked in a production that rarely lets it explode. The record looms, builds atmosphere, and drags you into rooms with an ever-shifting axis of gravity. The pull of guitar production and booming bass lifts you into the air as furniture blows past your head.

    12 years ago, Emptiness finished their album Nothing but the Whole on a riff which suddenly stopped, baffling their listeners. With two albums in between, which softened their sound and abandoned metal, Nowhere Speaks begins on the continuation of that heavy riff. Returned is the abstract phraseology and pronunciation: lyrics growled in a whisper are spoken with random breaks and drawls. Lyrics like, “The body is nourished and the mind twists like an arm. The arm of a child that I hated when life was young.” With sinister synths and sound collages where human and animal sounds become inseparable, Nowhere Speaks brings you to a realm of ludicrousness. Then it ends as Nothing but the Whole did, suddenly within the riff which started that album, morphing the two into an endless loop.

    –Aidan Sibley




    PsycropticThe Pulse of Annihilation | Metal Blade Records | Technical Death Metal | Australia (Tasmania)

    Tasmanian death metal dervishes, Psycroptic, are back on the scene with The Pulse of Annihilation. The new record is the veteran Aussie crew’s Metal Blade debut. Interestingly, the label touted Psycroptic’s evolution from “pure technical density into something more architecturally deliberate.” That’s a pretty fascinating way to describe The Pulse of Annihilation. Guitarist and principal songwriter Joe Haley views it simply as the “culmination of everything that has come before.” Either way, it’s hard to deny the tangled knot of razor wire riffs, roiling battering ram percussion and emphatic dual vocal onslaught unleashed within tracks like “Gathering a Venomous Herd,” “No Time for the Weak” and “To Embrace the Curse.” The decimating twin growl attack from Jason’s Keyser and Peppiatt definitely adds an extra layer of mass to Psycroptic’s clinical assault. The haunting ambient passage at the beginning of “Our Pillars Fall” is another nice touch amidst the grinding, mathematical din. As Henry Rollins once yelled: Annihilate. What could possibly go wrong?

    –Dennis J. Seese




    NiveousCult of the Void Star | Hypnotic Dirge Records | Black Metal | United States (Milwaukee, WI)

    Niveous didn’t get the memo that black metal isn’t meant to be enjoyable. Their debut album Cult of the Void Star is fantastical, as if Immortal held back on the thrash but kept the worldbuilding on At the Heart of Winter. Similarly, Niveous keep their distance from misanthropy and err towards the epic, with “Frostborne Resistance” boasting particularly engaging folk metal vocals.

    –Colin Dempsey




    WehmutIV: Sommer | Naturmacht Productions | Blackgaze | Germany (Bavaria)

    Wehmut incorporates post-rock, shoegaze, and DSBM with a reservation that’s unbecoming of blackgaze. What optimism there is feels tainted and sick, demonstrated through trances rather than biting riffs. This is all to say, Wehmut does more than play into stereotypes, despite the reverb-encrusted tremolo picking and floral album cover.

    –Colin Dempsey




    Supremative / CrucifixationSchism of Demonic Intolerance / Reveling In Sin | Down With the Most High | Death Metal + Black Metal | Spain + United States

    Both sides of Schism of Demonic Intolerance / Reveling In Sin sound like burning embalming fluid in your ears, which is to say, primitive death and black metal, or, in other terms, war metal, albeit a strain that hasn’t seen the light or evolved since 1990. Supremative embody that genre hybrid more fully, whereas Crucifixation are less tactful, charmingly laying death metal barks atop musicianship that can’t decide which Sepultura album is its favorite.

    –Colin Dempsey




  • Ann Wilson Sets Major Fall 2026 Tour to Cap a Very Busy Year

    She'll be joined by the Tripsitters on dates in the U.S., Canada and Japan. Continue reading…
  • “The shock of a band associated with hippies and the profound, playing confrontational theatrical rock, was mind-bending”: Were you there for Pink Floyd’s 10 most influential concerts?

    In 2023, accompanying our analysis of how Pink Floyd changed dramatically between their first two shows at Earls Court in 1973 and their five-night return in 1981, Prog presented a rundown of 10 key live performances from the band’s early days to their final reunion.

    1. 14 Hour Technicolor Dream – Alexandra Palace, London, April 1967

    At which the first tranche of Floyd fans felt they’d sold out, moving from the confines of All Saints Hall in Powis Gardens and the UFO in Tottenham Court Road to be part of the multi-artist happening in Muswell Hill. Captured on film by Peter Whitehead as part of Tonite, Let’s All Make Love In London, Floyd appeared at the end of the show,as the Sunday sun rose across the capital – and with it, their role as underground house band of choice was secure.

    2. Games For May – Queen Elizabeth Hall, London, May 1967

    Probably the group’s most famous early concert, Games For May was immortalised in song by Syd Barrett on the Floyd’s first Top 10 single, See Emily Play. Described as a “space age relaxation for the climax of spring – electronic composition, colour and image projection, girls, and the Pink Floyd,” frankly, what was there not to like?

    Playing more or less what was to become The Piper At The Gates Of Dawn, and premiering Emily, someone dressed as an admiral gave out daffodils to the audience while a bubble machine stained the seats, allegedly resulting in a lifelong ban at the venue for the group.

    3. More Furious Madness From The Massed Gadgets Of Auximenes – Royal Festival Hall, London, April 1969

    Realising that trying to replace the tragic whimsy of Syd Barrett was a road to nowhere, Floyd favoured the high concept with a generous dollop of their brand of space rock. The show the group premiered at this RFH event was The Man And The Journey, following Everyman as he goes through the day, incorporating released and unreleased material. Thumbs up for ambition, thumbs down for abundance of melody.

    4. Roman Amphitheatre, Pompeii, Italy, October 1971

    Arguably Pink Floyd’s most famous live performance was captured without a single paying member of the public amid the lava-saturated relics of Pompeii. Filmed by Adrian Maben for his oft-released and well-loved movie Pink Floyd: Live At Pompeii (reissued in 2025) the tracking shot behind the band’s amplifiers, bearing the legend ‘Pink Floyd. London.’ is one of the greatest moments in pop, ever.

    5. Winter Tour ’74 – Trentham Gardens, Stoke on Trent, November 1974

    After the desultory performances at the Empire Pool the nights before, Pink Floyd found their mojo and played a show strong enough that the bootleg of the three non-Dark Side songs of that tour allegedly sold 150,000 copies, in one shop outselling Led Zeppelin’s Physical Graffiti. What the recordings do underline is that by playing an hour of unheard material, Floyd demanded a great deal from their audience.

    6. In The Flesh – Stade du Parc Olympique, Montreal, Canada, July 1977

    Included solely for its notoriety, the most infamous Pink Floyd show of all time saw Waters beckoning a rowdy fan toward him, then spitting at him. It resulted in Roger Waters hating himself and his audience, setting his creative course for a considerable time going forward. How had it come to this?

    7. The Wall – Earls Court, London, August 1980

    The excitement of The Wall shows is difficult to put into writing. The shock of this band, associated with hippies and the profound, playing confrontational, difficult, theatrical rock was palpable. Once the taste was acquired, to see it in this enormous venue with its inflatable mothers, schoolteachers and wives, crashing planes, pop-up rooms, explosions and a lot of cardboard is still somewhat mind-bending.

    8. A Concert For Europe – Venice, Italy, July 1989

    A free concert that was intended to be played off the island of Giudecca in the Venetian Lagoon; instead, because of logistics, it actually ended up being staged on large rafts in the middle of the San Marco Basin, directly opposite the Doge’s Palace and smack-dab in the middle of Venice.

    A great deal of local, national and eco politics surrounded the show, but it also acted as a metaphor for the very opulence of the 80s – not to mention the apogee of slick, David Gilmour-led commercial Floyd. The show was eventually watched globally by 100 million people.

    9. Pulse – Earls Court, London, October 1994

    By the time of The Division Bell, and what was to become the live album Pulse, Gilmour, Rick Wright and Nick Mason had learned how to be Pink Floyd without Waters or, indeed, Barrett. No one now had to ask “Which one was Pink?” as Pink was the unity, the spectacle, the togetherness of the band, playing The Dark Side Of The Moon in full for the first time since 1975, but importantly, having, in The Division Bell, an album that could stand upright in its shadow.

    10. Live 8 – Hyde Park, London, July 2005

    They never thought it would happen, Gilmour and the boy from Great Bookham, out on that crepuscular common, that night many haven’t forgotten… Pink Floyd’s temporary reunion, engineered by Bob Geldof for Live 8, overshadowed the rest of the global concert. Although the awkwardness onstage can be analysed to the nth degree afterwards, in its moment, it felt like the best thing ever.

  • The Ocean – Reveal Another New Single

    German post-metal collective The Ocean have shared a music video for “Belligerence”, another preview of their upcoming album, Solaris. Check it out below.
    Read more…
  • If These Trees Could Talk – The Hidden Hand Review

    If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

    By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

    If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

    The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

    Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.


    Rating: 2.5/5.0
    DR: 7 | Format Reviewed: 256 kbps mp3
    Label: Metal Blade Records
    Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
    Releases Worldwide: July 10th, 2026

    The post If These Trees Could Talk – The Hidden Hand Review appeared first on Angry Metal Guy.

  • Brat – Announce New Album

    Self-proclaimed New Orleans “bimboviolence” outfit Brat will release their new sophomore album, Manslayer, on September 25th via Prosthetic Records. A music video for the first single, “Manslayer (Hell Hath No Fury)” can be watched below.
    Read more…
  • Napalm Death perform historic NPR Tiny Desk concert

    Watch the band’s unforgettable performance now

    Source

  • “Nice to see ya!” Watch grindcore legends Napalm Death play the heaviest Tiny Desk Concert in history

    Grindcore innovators, extreme metal influencers and Midlands heroes Napalm Death have played what must surely be the most brutally heavy Tiny Desk Concert in history. The latest artists to take part in National Public Radio’s ongoing and hugely popular series, which invites established acts to play in the company’s office in Washington, D.C., the band follow in the footsteps of pop icons like Dua Lipa and Sabrina Carpenter, as well as hardcore graduates Turnstile, who made history with their Tiny Desk Concert last year after singer Brendan Yates produced the series’ first ever stage dive.

    “We are Napalm Death, for the uninitiated, just in case you were wondering,” smiles frontman Barney Greenway after a bludgeoning Strong-Arm in a video of the set since uploaded to NPR’s Youtube. “Nice to see ya! Let me say we are here to heartily support public access broadcasting,” he adds to cheers, continuing: “unfortunately, it is under attack from all sides, in the UK as well as over here, and we have to take care of it. It’s precious. It has to be preserved.”

    Napalm Death then continue to batter the NPR office with another six cuts, including their iconic 1.3-second track You Suffer, which isn’t only the shortest song to ever get played at a Tiny Desk Concert, but is recognised by the Guinness World Book Of Records as the shortest song in history.

    Watch the performance below.

    Napalm Death are by no means the only truly heavy band to play a Tiny Desk Concert. In 2023, monster alien thrash veterans GWAR played the series, while in 2019, sludge metallers Thou appeared courtesy of a more stripped-back performance. We think this one is going to take some topping, though.