It seems there was some confusion about the track’s existence and if it would be included in any digital formats.
The post LAMB OF GOD Addresses Confusing Bonus Track Situation appeared first on Metal Injection.
Blog
-
AN NCS INTERVIEW: LÖMSK
(A couple of weeks ago Vendetta Records released the debut album of the Swedish black metal band Lömsk. Attracted by the cover art, our Comrade Aleks fell into the album and emerged with a desire to interview the band, and the following discussion with Lömsk’s bassist and vocalist followed.) War became a part of our […]
The post AN NCS INTERVIEW: LÖMSK appeared first on NO CLEAN SINGING.
-
Cage Fight unleash new single, Pick Your Fighter, with Benighted’s Julien Truchan
Cage Fight have just dropped a new single, Pick Your Fighter, featuring Benighted’s Julien Truchan.
Taken from their forthcoming album Exuvia – which is due out on May 1 via Spinefarm – vocalist Rachel Aspe announces, “We wanted to write a fun, sing-along party song with themes of determination and fighting spirit, and the result is Pick Your Fighter.
“I also wanted to pay tribute to a French artist who marked my teenage years, and my dad suggested Nâdiya, an R&B singer who is huge back home. Musical and lyrical motifs in Pick Your Fighter nod to Nadiya’s hit Et C’est Parti, a motivational party song that was a huge hit.
“The crowning touch is some very heavy guest vocals from my French friend Julien Truchan of the band Benighted. And there are pig squeals, many pig squeals!”
Check out the very apt 8‑bit combat video for Pick Your Fighter below:
Read this next:
Posted on March 19th 2026, 2:55p.m.
-
LLOTH UNLEASH NEW RITUALISTIC VIDEO “ACHERODAS” FROM ARCHEES LEGEONES (ANCIENT LEGIONS) – @thebeast
FOR IMMEDIATE RELEASE
LLOTH UNLEASH NEW RITUALISTIC VIDEO “ACHERODAS” FROM ARCHEES LEGEONES (ANCIENT LEGIONS)
From the shadowed depths of the Hellenic underground, Greek black metal veterans LLOTH return with a chilling new visual offering for their track “Acherodas,” taken from their latest album Archees Legeones (Ancient Legions) , out now via Theogonia Records.
Watch the official video here:
Drenched in a cinematic and obscure atmosphere, “Acherodas” is more than just a music video, it is a full descent into myth, ritual, and darkness. Built on haunting imagery and layered symbolism, the video channels the ancient spiritual undercurrents that define LLOTH’s sound. The result hits like a late-night horror flick meets old-world mythology, pulling you straight into the abyss and not letting go.
The release builds on strong momentum for the band, following the success of their previous video “Black Throne,” which received high praise and was featured by BraveWords, further cementing LLOTH’s powerful return to the global metal spotlight.
The video was brought to life by Bob Katsionis and Alex Haritakis, whose vision transforms the track into a hypnotic visual ritual. Performances from Nina Kefallogiani and PNOE, alongside Kostas Petratos, add a theatrical, almost ceremonial weight to the experience. With costumes crafted by Natali Christaki and a concept developed by PNOE and Nicolas Maiis (Melanomorfos), every detail feeds into the larger mythos surrounding Archees Legeones .
Adding another layer of depth, the track features haunting female vocals from Androniki Skoula, whose ethereal presence elevates the song’s emotional pull and reinforces its connection to themes of death, rebirth, and ancient power.
“Acherodas” continues LLOTH’s relentless march through epic Hellenic black and death metal, where crushing riffs, dark melodies, and mythological storytelling collide. It’s raw, it’s atmospheric, and it stays true to the roots while still pushing forward, exactly how it ought to be done.
Following their triumphant return and the legacy forged in honor of founder Tristessa, LLOTH prove once again they are not here to revisit the past, they are here to expand it and drag it into darker territory.
Archees Legeones (Ancient Legions) is out now worldwide.
Enter the darkness. Cross the river. Descend into “Acherodas.”
For press inquiries, interviews, or review copies, contact: zach@metaldevastationradio.com
Connect with the band:
https://llothofficial.bandcamp.com/album/archees-legeones-ancient-legions
https://www.facebook.com/LLOTHOFFICIAL/
https://www.instagram.com/llothband/
https://theogonia-records.com/lloth/
Contact: lloth_band@yahoo.gr
-
Croatian Amor – “Regret” (Feat. School Of X & Niko)
Loke Rahbek used to be a member of the Danish band Lust For Youth, and then he split off to start the solo project Croatian Amor. Last year, he got together with his old band for the Lust For Youth/Croatian Amor collaborative album All Worlds. Today, Rahbek follows that album with “Regret,” a new standalone…
The post Croatian Amor – “Regret” (Feat. School Of X & Niko) appeared first on Stereogum.
-
SUFFOCATION Announces Headlining Dates Around CRADLE OF FILTH U.S. Tour
Suffocation has tacked on a handful of additional headlining dates around their Cradle Of Filth tour, all of which seem to be only Suffocation.
The post SUFFOCATION Announces Headlining Dates Around CRADLE OF FILTH U.S. Tour appeared first on Metal Injection.
-
Suffocation Add Some Headlining Dates During Their Tour with Cradle of Filth
This spring, Suffocation will be heading out on the road in support of Cradle of Filth along with Ghost Bath and Cultus Black. Should be a good time, but what if you’re really just interested in catching Suffocation? Good news — they’ve added a handful of headlining dates scattered throughout the aforementioned tour that you might want to check out instead.
Each of the following dates are Suffocation headlining shows. As of this posting, it looks like just Suffocation will be featured on these events — no openers or supporting artists. So if that’s all you want, then that might just be all you get.
The newly added dates are as such:
- 4/28 Memphis, TN 1884 Lounge
- 5/10 Charlotte, NC Neighborhood Theatre
- 5/25 Springfield, MO Regency Live
- 5/26 Indianapolis, IN The Black Circle
- 5/27 Millersville, PA Phantom Power
- 5/29 Philadelphia, PA Warehouse on Watts
- 5/30 Brooklyn, NY Market Hotel
As mentioned before, these added dates only supplement their already existing itinerary. That tour’s dates with Cradle of Filth, Ghost Bath, and Cultus Black are listed below.
- 4/30 San Antonio TX Aztec Theater
- 5/1 Fort Worth TX Tannahills
- 5/3 Corpus Christi TX Crush The Coast Fest
- 5/4 Houston TX House Of Blues
- 5/5 Oklahoma City OK Diamond Ballroom
- 5/7 Daytona Beach FL Welcome To Rockville
- 5/8 Pensacola FL Vinyl
- 5/9 Atlanta GA Masquerade
- 5/11 Washington DC Black Cat
- 5/12 Pittsburgh PA Roxian
- 5/14 Columbus OH Sonic Temple
- 5/16 Saginaw MI The Vault
- 5/19 Chicago IL Bottom Lounge
- 5/20 Minneapolis MN Varsity Theater
- 5/21 Lawrence KS Granda Theater
- 5/22 Lincoln NE Bourbon Theater
- 5/23 Denver CO Gothic Theater
Tickets for the headlining run of shows will go on sale this Friday. As for the other tickets, you can get yours today.
The post Suffocation Add Some Headlining Dates During Their Tour with Cradle of Filth appeared first on MetalSucks.
-
Tom Waits Is In Martin McDonagh’s New Movie Wild Horse Nine
American original Tom Waits doesn’t. make new music too often anymore. He’ll reportedly appear on an upcoming Shane MacGowan tribute album, but that’ll be a rare thing. He hasn’t released an album since 2011’s Bad As Me, and he doesn’t seem to be in a hurry to drop another one. Nevertheless, Waits will still take character-actor roles in auteurist movies. In recent years, he’s been in pictures like The Ballad Of Buster Scruggs, The Old Man & The Gun, and Licorice Pizza. Last year, Waits was the nominal lead in his old collaborator Jim Jarmusch’s family anthology Father Mother Sister Brother, which got international festival attention but didn’t make much critical or commercial noise in the US. Next, he’ll be in Martin McDonagh’s new film Wild Horse Nine.
The post Tom Waits Is In Martin McDonagh’s New Movie <em>Wild Horse Nine</em> appeared first on Stereogum.
-
Dreamcatcher is E.G. Phillips’ Single Out Now
Good Day Noir Family,
E.G. Phillips’ “Dreamcatcher” reveals its character through the first delicate vocal flourishes of Anyssa Govea.Dreamcatcher is E.G. Phillips’ Single Out Now
Her phrasing signals refinement, guiding the listener into a nocturnal atmosphere brushed with subtle jazz and soul tones.
The mood is intimate yet assured, and the song unfolds with patience rather than urgency.
What stands out most is the attention to detail. Small instrumental gestures appear and disappear with intention. The piano threads gently around the vocal lines, at times echoing them, at times answering in soft conversation. Meanwhile, the bass rests confidently on the tonic notes, providing a steady foundation where every melodic nuance can land securely. That restraint allows the arrangement to breathe, and as a result, each element carries weight.
The interplay between voice and instrumentation creates a sublime balance. Nothing feels rushed, and nothing feels overstated. The production favors nuance over spectacle, and that choice elevates the composition. Phillips demonstrates clear compositional maturity here. He shapes the harmonic progression carefully, ensuring that the emotional arc develops naturally rather than dramatically. The jazz inflections blend with soul textures, giving the track a timeless elegance.
Listening to “Dreamcatcher” evokes the image of slowly sipping an aged whiskey. At first, you notice the warmth; then, with repeated sips, the deeper layers reveal themselves. Similarly, this song invites immersion rather than passive consumption. It asks for attention, and in return, it offers subtle rewards.
Anyssa Govea’s performance carries softness and control. She never forces the emotion; instead, she lets it unfold gently. That choice reinforces the sincerity at the heart of the piece. The result is music that must be experienced before it can be fully understood.
“Dreamcatcher” stands as a refined and introspective single, crafted with care and artistic intention. E.G. Phillips delivers a moment of pure, honest art that resonates quietly yet deeply.
Dreamcatcher is E.G. Phillips’ Single Out Now!
Sublime!
Dreamcatcher is E.G. Phillips’ Single Out Now
E.G. Phillips is a San Francisco-based songwriter known for his witty and poetic lyrics, intricate compositions, and penchant for blending folk traditions with jazz and classical sensibilities. With influences ranging from Bob Dylan to Duke Ellington, Phillips’ music offers a unique perspective on the human condition, wrapped in evocative storytelling and lush arrangements.
Produced by Chris McGrew and Kevin Seal, and recorded at Wally’s HydeOut (Hyde Street Studios, Studio C) in San Francisco, “Dreamcatcher” features: Vocals: Nyssa (Anyssa Govea) Guitar: Christopher Fortier Keys: Kevin Sealm Bass: Liam Craddock Drums: Chris McGrew Mixed by Chris McGrew Mastered by Justin Weis (Trakworx)
Find E.G. Phillips Here:
Spotify
Instagram
Discover New Bands Click Here
The post Dreamcatcher is E.G. Phillips’ Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.
-
Album Review: Diatribes – Degenerate
Album Review: Diatribes – Degenerate
Reviewed by Eric Clifford
Look, I love OSDM. It’s a huge part of my musical DNA and while I do tend to prefer the blastier, gurglier sides of the genre those early efforts by Deicide, Incantation and a hundred others are formative to the way I think about and approach music. They’re a bedrock of sorts, a springboard from which I’ve dived into so much of the rest of the genre, and to date if I can’t think of anything else to put on whatever I’m listening to is likely to be one entry or another from that glorious, rancorous subsection of the genre. It’s such a colourful, varied outcropping with limitless crannies to spelunk within, that even if I vehemently disagree with the tiresome curmudgeons that assert that the genre never got better than it was in the 80’s/early 90’s, I can at least concede that those albums are worth the covetous attitude they seem to inspire. But you can’t just imitate the glory days and expect your own efforts to be as laudable. And, misfortunate as it may be, that looks to be in part what has beset Diatribes on “Degenerate”.
This thing is old school to a fault, lashed fast to the thrash and death ways of yore with bullet-belted anaconda coils. You can hear it, so clearly it barely warrants remarking upon, screaming bloody gore in seven churches somewhere south of heaven. And there’s nothing wrong with that – if you do it well. But it’s that same back-to-basics approach combined with slapdash playing that comprehensively stimies Diatribe’s ambitions. Trotsky, in the imposing tome that is his “History of the Russian Revolution”, outlines the following about police spies reporting on Rasputin and his seemingly interminable state of inebriation: “Thus for months and years the melody was played on three keys: “Pretty drunk,” “Very drunk,” and “Completely drunk”. Similar things could be said of this album as I swear the playing becomes looser the longer the album goes on. What time signature is the section at 2.01 in “Last Enemy” meant to be in? Why is it played in the rhythm of a washing machine having a heart attack? Stick with the song for a moment – listen to the sheer amount of notes in the tremolo section from 3.06 onwards that sound as though they’re being played for the first time by a thirteen year old trying to dodge Zulu warriors attacking him with blow darts from the bushes. I’m not a stickler for atomic-clock precision in my metal albums, but this really does tip over the edge into feeling a bit amateurish at points, which would matter less if every riff was conceptually awesome, but when so many are so stock standard it becomes harder to overlook haphazard execution.
“Swamp Spirits” is a bit of twangy good ‘ol boy slide blues, and I imagine it’s what hold music in Alabama sounds like. It’s awkward and incongruent, but even at their best, the songs here are sadly just “o.k” for the most part. “Hostility Within” commits no sins beyond forgiveness, but every second of it is predictable, using factory standard patterns that get the job done but seldom prove exciting or noteworthy. More livid cuts got a little head bop out of me, but truly great death metal has me headbanging hard enough to dislocate my spine. I need enough visits to a chiropractor to put his children through university once “Warmaster” or “Cause of Death” are done with me, but none of that suicidal urge to crush my invertebral discs to powder ever seemed to strike me when “Degenerate” instead was the soundtrack.
Solos are random splats of (possibly improvised) 16th notes and wah-pedal assault, squealing like bats in a centrifuge. Have you ever heard what sonar actually sounds like? It’s a hateful squiggle of piercing high frequencies that feels like having a dental drill pushed into your eardrums, and the guitar solos Diatribes give us here feel something like a close cousin to it – not exactly the same, but you can tell that they’re related. Speaking of related – plenty of bands cite Slayer as an influence, but even so pilfering a riff from “Mandatory Suicide” on “Masquerade” is a bit on the cheeky side. And perhaps it’s just me, but listen to “Lost Soul”; in particular the bit at 0.24. Then listen to Danny Elfman’s theme for Tim Burton’s “Batman” back in 1989. Now, I have been huffing a lot of paint thinner lately, but…there’s a similarity there, right? But it’s not difficult to complain; being from Yorkshire, it’s a talent that’s practically encoded into my genes. Lets instead fish for saving graces. And there are some – The bass tone for instance. Bulky, apparent, complimentary to but not buried within the mix. If you – whoever you are and whyever you would care about my opinion – want an easy way to score points with me, for the love of god, make your bass a distinct entity within the production. Some tracks even have cool bits in! “Empire of Hate” plays with its rhythms, crunchy triplets above the dancing acid rain of a lead line above, before firing off into the distance with blastbeats. Things collapse a bit with a sloppier melodic passage at 1.48 in which you can hear the guitars desync repeatedly, but for a second there, there was a spark of something that might have worked out were it tightened and honed, made a more formidable implement simply for greater application of the whetstone.
It’s frustrating, but the problem is twofold: A lot of these tracks are shackled down by performance missteps, but even if everything were polished to a mirror sheen, these songs would still be pretty average overall. Take “Brutal Sarcasm” for example; the solo sounds like a dolphin argument. Wedge Yngwie in there and of course the song is much improved for it – but you’d have to do a similar reinvention of every other bit of the song in order to pluck it from “o.k with a great solo” to “great all round”. Almost thirty six years ago now, Deicide released a debut that sounds in a lot of ways like an idealised version of what this album was trying to be – with the unpalatable speedbump that Diatribes can’t come close to writing anything as phenomenal as “Dead by Dawn” (to say nothing of the far superior “Legion” release two years later). It’s not all bad for certain, there are some decently animalistic riffs here and there (“The Witch” having a surfeit of appreciably hazardous clippings from classic thrash – 0.58 for one example among others), and the production is something I can wholly embrace. I also like that they haven’t detuned so far that they could use their E string for a g string. But I can’t escape the suspicion that hereafter I would only ever play this one as backing music. Listened to attentively, the songs only begin to stand out when they do something untoward – solos that sound like they were recorded in the middle of a train collision, slipshod attempts at dual guitar leads, offputting rural blues cuts that sound like they could’ve been ripped out of that “Deliverance” movie where a bunch of guys are menaced by rednecks. Maybe Diatribes and their take on an evergreen if defiantly retro sound will be what the doctor ordered for you, but in a crowded field of contemporary and nostalgic alternatives It feels like stretch to suggest Diatribes as worthy listening unless you are somehow starved of worthy death metal.
The post Album Review: Diatribes – Degenerate appeared first on The Razor's Edge.