Long Island sect blends chaos with doom, classical, and ambient elements on their first release for An Eastern Temple Productions.
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DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’
While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.
No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.
With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.
No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.
Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026
The post No/Más – No Peace Review appeared first on Angry Metal Guy.
Sleep Token’s albums chart the strangest ascent in modern heavy music: four records in six years, made by a band whose members have never officially been identified, that ended with a No. 1 album on the Billboard 200. There’s no precedent for it. No interviews, no faces, no conventional promotion — just a masked vocalist called Vessel, an invented mythology, and music that refuses to sit in any single genre. This is every Sleep Token album ranked worst to best, and the record that topped the chart isn’t the one that takes the top spot here.
Most discographies are a story of refinement — a band finds a sound and gets better at it.
Sleep Token’s is a story of expansion. Each album pulls in more: metal, R&B, trap, piano balladry, gospel harmony, ambient electronics, arena pop. The question with every record isn’t whether they got sharper, it’s how much further out they went and whether it held together.
That’s the criteria here. Not just quality, but scope, cohesion and how much each album actually moved.
There’s also a genuine split in this fanbase between the people who arrived through Sundowning and the people who arrived through TikTok. Both will argue with this list. Good.
Loaded Radio Recommends – Sleep Token Members DECODED: 13 Facts That Finally Explain Vessel, The Cult, and The Real Story
Every band starts somewhere, and Sundowning is where the ritual began.
Released across the back half of 2019 with songs dropped in pairs on a lunar schedule — which was the first hint that this project came with a whole apparatus attached — it introduced Vessel, the masks, and the blend of atmospheric metal, electronics and haunting melody that everything since has been built on. “The Offering,” “Higher” and “Dark Signs” gave early listeners their first look at the world being constructed.
It remains beloved by the people who found it first, and there’s a real argument that nothing since has been as eerie or as intimate.
But you can hear a band still working out how far they could push. The heavy moments are heavy without being crushing, the quiet moments are pretty without being devastating, and the gap between the two hadn’t yet become the weapon it would be.
Sundowning is the blueprint. Everything after it expanded the vision.
Key tracks: “The Offering,” “Higher,” “Dark Signs”
The second album pushed deeper and darker.
This Place Will Become Your Tomb refined the sound and leaned much further into emotional intensity and genre fluidity. “Alkaline,” “Hypnosis” and “The Love You Want” showed a band rapidly gaining confidence in its ability to put tenderness and brutality in the same bar without either one feeling like a gimmick.
It’s also the record where the wider metal world started paying attention properly. Sleep Token stopped reading as a curiosity and started reading as a genuine force.
Why it isn’t higher: it’s a superb album that’s been outgrown by what followed. On its own terms it’s excellent. Against the two above it, it’s the sound of a band a year away from working out exactly what they were.
Key tracks: “Alkaline,” “The Love You Want,” “Hypnosis”
The commercial peak, and a genuinely confident record.
Even In Arcadia debuted at No. 1 on the Billboard 200 — the first Sleep Token album to do it, and one of the clearest markers yet that heavy music’s mainstream moment is real rather than imagined. An anonymous British band with no faces and no press cycle outsold everything else in America that week.
Musically it builds on the enormous scale of Take Me Back To Eden and pushes further toward the cinematic. It’s a record made by a band who understand exactly what they are, which is both its strength and the reason it lands second.
Because that certainty costs something. Take Me Back To Eden sounds like a band discovering what they can get away with. Even In Arcadia sounds like a band who already know.
Still: proof that the rise wasn’t a fluke, and that they’re not finished expanding.
Key tracks: “Emergence,” “Caramel,” “Damocles”
The moment every piece clicked.
Take Me Back To Eden took Sleep Token from cult concern to global phenomenon, and “The Summoning” is the specific song that did it — a track that detonated across streaming and social media and dragged an entire audience in behind it. But the viral moment obscures how good the actual record is.
It moves between crushing heaviness, lush atmosphere and genuinely devastating melody without ever sounding like it’s changing gear. “Chokehold” into “The Summoning” into “Granite” is one of the great opening runs of the decade. The title track is a seven-minute closer that has no business working and completely does.
We put it among the best metal albums of 2023 at the time, and three years on it’s only grown.
If somebody asks where to start with this band, it’s always this.
Key tracks: “The Summoning,” “Chokehold,” “Take Me Back To Eden”
4. Sundowning (2019)
3. This Place Will Become Your Tomb (2021)
2. Even In Arcadia (2025)
1. Take Me Back To Eden (2023)
Sundowning — 2019
This Place Will Become Your Tomb — 2021
Take Me Back To Eden — 2023
Even In Arcadia — 2025
Worth knowing, because they come up constantly and they’re where the band actually starts.
Before any of the albums, Sleep Token released two EPs: One in 2016 and Two in 2017. They’re sparser, stranger and considerably quieter than anything that followed — closer to ambient art-pop with occasional heaviness than to the band people know now.
“Thread The Needle,” “Calcutta” and “Nazareth” are the ones longtime fans point to.
If the albums are the band explaining themselves, the EPs are the band before they’d decided they needed to.
They’re not ranked here because two EPs and four albums aren’t the same thing, but anyone working backwards through this catalogue should end up there.
Part of what makes ranking these albums interesting is that Sleep Token don’t follow the metal formula at all.
They move freely between genres, emotional registers and textures, often inside a single song. That willingness to refuse categorisation is exactly why they’ve connected with a generation who grew up on playlists rather than genre loyalty — and it’s why arguments about whether they’re “really metal” have always missed the point.
The anonymity is the other half of it. No faces, almost no interviews, an invented deity and a mythology that fans have spent years decoding. It’s the most successful piece of world-building heavy music has produced this century, and we’ve broken down the full Sleep Token lore and what’s actually known about the members separately, along with thirteen facts that explain the whole apparatus.
If you’ve worked through all four and want somewhere to go next, our guide to bands like Sleep Token has twenty-five artists that scratch different parts of the same itch.
The real question isn’t which album is best. It’s what they do next.
Loaded Radio Recommends – Who Are The Members Of Sleep Token? What We Actually Know (And What We Don’t)
Take Me Back To Eden, released in 2023. It’s the record where the band’s heaviness, R&B-influenced melody and cinematic ambition finally locked together, and it produced “The Summoning” — the song that took Sleep Token from cult act to global phenomenon. Even In Arcadia is the more commercially successful album, but Take Me Back To Eden is the more complete one.
Four studio albums: Sundowning (2019), This Place Will Become Your Tomb (2021), Take Me Back To Eden (2023) and Even In Arcadia (2025). They also released two EPs before the albums — One in 2016 and Two in 2017.
Even In Arcadia, released in 2025, debuted at No. 1 on the Billboard 200 — the band’s first chart-topping album, achieved with no member ever having been publicly identified.
Take Me Back To Eden. It’s the most complete representation of everything the band does, and “The Summoning” is the entry point for most listeners. From there, work forward to Even In Arcadia and backward through This Place Will Become Your Tomb to Sundowning.
Vessel is the masked frontman, vocalist and principal songwriter. Sleep Token perform anonymously, with the other members known only as II, III and IV, and the band has never officially confirmed any member’s identity. Widely circulated claims remain unconfirmed by the band.
Four albums, one No. 1, and not a single confirmed face. Think Even In Arcadia deserves the crown, or is Take Me Back To Eden untouchable? Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
The post Sleep Token Albums: Complete Discography Ranked appeared first on Loaded Radio.
For more than a decade, the great underground rap veterans Aesop Rock and Homeboy Sandman have been getting together for a series of EPs called Lice. Those guys bring out the absolute best in each other. When they get together, they always sound like they’re having fun without compromising the hyper-referential density of their styles.…
The post Aesop Rock & Homeboy Sandman Release New EP <em>Miami Lice: Season Four</em> appeared first on Stereogum.
1975 saw EAGLES on the verge of world domination which “Hotel California” would bring about a year later, but when the band released “One Of These Nights” that features such smashes as “Take It to the Limit” and the album’s … Continue reading
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In case you haven’t picked up on it yet, I am insanely fucking hyped for Corrosion of Conformity‘s next album Good Man/Baad Man. Those guys are easily one of the best stoner/sludge/groove/doom metal bands out there today and have been for decades, so this album’s eventual release is nothing short of an event in my eyes.
Of course, a new album means new singles and after the recent release of “Gimme Some Moore”, fans of the band have been itching for that next hit. Well, here it is — they released a new single titled “You Or Me” today and it’s fucking awesome. It’s got killer riffs, great solos, and a weirdly trippy part half way through.
Then there’s the accompanying music video, which is an absolute trip. Created by visual artist Costin Chioreanu with additional footage filmed by Mike Holderbeast. That kind of collab, the band said, was integral to getting this single out there.
“Deep from within the forests of Romania and the twisted mind of our dear friend Costin Chioreanu comes his twisted visions put to Corrision’s music. It’s a match made in purgatory. There’s some special additions from [director] Mike Holderbeast’s crew as well.”
Good Man/Baad Man will be released on April 3 via Nuclear Blast Records, but you can preorder your copy today. If you’d like to catch ’em live, you can check out the full list of tour dates below and get your tickets today.
Good God / Baad Man Track Listing:
Album 1
1. Good God? / Final Dawn
2. You Or Me
3. Gimme Some Moore
4. The Handler
5. Bedouin’s Hand
6. Run For Your Life
Album 2
7. Baad Man
8. Lose Yourself
9. Mandra Sonos
10. Asleep On The Killing Floor
11. Handcuff County
12. Swallowing The Anchor
13. Brickman
14. Forever Amplified
CORROSION OF CONFORMITY Live:
4/07/2026 The Masquerade – Atlanta, GA *
4/08/2026 The Pyrle – Greensboro, NC *
4/09/2026 Starland Ballroom – Sayreville, NJ ^
4/11/2026 The Palladium – Worcester, MA ^
4/12/2026 Kodak Center Theater – Rochester, NY ^
4/14/2026 The Factory – Chesterfield, MO ^
4/15/2026 Manchester Music Hall – Lexington, KY ^
4/17/2026 VooDoo at Harrah’s Kansas City – North Kansas City, MO ^
4/18/2026 Anthem at Hard Rock Sioux City – Sioux City, IA **
4/19/2026 The District – Sioux Falls, SD ^
4/21/2026 Mesa Theater – Grand Junction, CO ^
4/22/2026 Metro Music Hall – Salt Lake City, UT (COC only)
4/23/2026 Treefort Music Hall – Boise, ID ^
4/24/2026 Cargo Concert Hall – Reno, NV ^
4/25/2026 Sick New World – Las Vegas, NV Festival Date
4/27/2026 Sunshine Theater – Albuquerque, NM ^
4/28/2026 The Horseshoe – Midland, TX ^
4/29/2026 The Aztec Theatre – San Antonio, TX ^
5/01/2026 Vinyl Music Hall – Pensacola, FL ^
5/02/2026 The Signal – Chattanooga, TN ^
5/03/2026 The Orange Peel – Asheville, NC ^
5/05/2026 Phoenix Concert Theatre – Toronto, ON *
5/06/2026 Fairmount Theatre – Montreal, QC *
5/07/2026 Le Poisson Rouge – New York, NY ***
5/08/2026 Underground Arts – Philadelphia, PA ***
5/09/2026 Mr. Smalls Theatre – Millvale, PA ***
5/10/2026 The Roxy – Lakewood, OH ***
5/12/2026 The Machine Shop – Flint, MI ***
5/13/2026 The Pyramid Scheme – Grand Rapids, MI ***
5/14/2026 Outset – Chicago, IL ***
5/15/2026 Cannery Hall – Nashville, TN ***
5/16/2026 Tipitina’s – New Orleans, LA ***
* w/Whores
^ w/Clutch, JD Pinkus
*** w/Whores, Crobot
The post Corrosion of Conformity Dropped a Supremely Groovy/Weirdly Trippy Single in “You Or Me” appeared first on MetalSucks.
$15 TICKETS AVAILABLE VIA TICKETMASTER
WITH REGISTRATION OPEN NOW THROUGH MARCH 11 AT 10 P.M. ET
March 10, 2026, Philadelphia – On March 15, two days after Into Oblivion’s arrival, Lamb of God will perform at Philadelphia’s TLA (Theatre of Living Arts), with the one-off show giving fans a rare chance to see the band in an unusually intimate setting. Fit For An Autopsy will open the evening.
The celebratory event is especially meaningful because it takes place in Philadelphia, the city that helped catapult them to fame and served as the setting for their 2005 Platinum selling Killadelphia album and DVD.
Lamb Of God is asking fans to request tickets for the March 15 pop-up performance. Tickets are $15 (fees included), and fans can request now via Ticketmaster (https://bit.ly/LoG-TLA). Tickets that can be fulfilled will automatically be charged to the fan’s credit card and instructions on how to access tickets will be sent from Ticketmaster.
Submitting a request does not guarantee tickets. Request tickets on Ticketmaster (https://bit.ly/LoG-TLA) by March 11, at 10 p.m. Eastern. Lamb of God is using Ticketmaster’s Face Value Exchange to help fans get tickets at the original price. Tickets will be non-transferable and can only be resold on Ticketmaster at face value.
The Philadelphia event is part of a nationwide release-weekend celebration, with more than 140 independent record stores hosting Into Oblivion listening parties from March 13 to 15. Exclusive merch, including free Lamb of God swag (while supplies last), prizes, and an indie-exclusive, limited edition Poltergeist vinyl variant of the new album, will be available. A full list of participating stores is available at: https://listeningparties.into-oblivion.com.
Album pre-orders are available now (https://shop.lamb-of-god.com/collections/into-oblivion), including remaining limited-edition vinyl variants and a collectible Into Oblivion CD packaged with a companion zine featuring album art sketches, handwritten lyrics, and never-before-seen studio photos.
Into Oblivion track-listing:
3. Sepsis
4. The Killing Floor
5. El Vacío
6. St. Catherine’s Wheel
8. Bully
9. A Thousand Years
10. Devise/Destroy
Lamb of God’s Spring North American tour kicks off on March 17. In what promises to be the heaviest trek of 2026, the band will be joined by Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg. Tickets and VIP packages are on-sale now via Lamb-of-god.com/tour.
Into Oblivion North American tour dates:
March 17 National Harbor, MD, The Theater MGM National Harbor
March 19 Montreal, QC, Bell Centre
March 20 Toronto, ON, GCT Theatre
March 22 Detroit, MI, Fox Theatre
March 24 Minneapolis, MN, Armory
March 25 Chicago, IL, Byline Bank Aragon Ballroom
March 27 Denver, CO, Fillmore Auditorium
March 28 Salt Lake City, UT, The Union Event Center
March 30 Portland, OR, Theater of the Clouds
March 31 Seattle, WA, WAMU Theater
April 1 Vancouver, BC, PNE Forum
April 3 San Francisco, CA,The Masonic
April 4 Inglewood, CA, YouTube Theater
April 5 Phoenix, AZ, Arizona Financial Theatre
April 7 Albuquerque, NM, Revel Entertainment Center
April 10 Austin, TX, Moody Amphitheater
April 11 Irving, TX, The Pavilion at Toyota Music Factory
April 12 Houston, TX, 713 Music Hall
April 14 Nashville, TN, War Memorial Auditorium
April 15 Atlanta, GA, Coca-Cola Roxy Theatre
April 16 Raleigh, NC, Red Hat Amphitheater
April 18 Reading, PA, Santander Arena
April 19 Virginia Beach, VA, The Dome
April 21 Buffalo, NY, Buffalo RiverWorks
April 23 Brooklyn, NY, Brooklyn Paramount
April 25 Uncasville, CT, Mohegan Sun Arena
April 26 Boston, MA, MGM Music Hall at Fenway
Additional 2026 tour dates:
May 9 Daytona Beach, FL Welcome To Rockville
May 17 Columbus, OH, Sonic Temple Art & Music Festival
May 20 San Juan, PR Coliseo de Puerto Rico
July 24 Istanbul, TR Bonus Parkorman
July 25 – 27 Plovdiv, BG Hills of Rock
July 27 – 31 Râşnov, RO Rockstadt Extreme Fest
August 1 Wacken, DE Wacken Open Air
August 3 Leipzig, DE Haus Auensee
August 5 Lisbon, PT Vagos Open Air
August 6 – 9 Kortrijk, BE Alcatraz Open Air
August 7 Walton-on-Trent, UK Bloodstock Open Air
August 11 Copenhagen, DK K.B. Hallen
August 12 – 16 Dinkelsbühl, DE Summer Breeze
August 13 – 15 Sulingen, DE Reload Festival
August 14 – 16 Eindhoven, NL Dynamo Metalfest
October 30 – November 3 Miami, FL Headbangers Boat
Lamb of God is Randy Blythe (vocals), John Campbell (bass), Mark Morton (guitar), Willie Adler (guitar) and Art Cruz (drums). Formed in 1994, the Richmond, Va. based band has released nine critically acclaimed albums, received five GRAMMY® Award nominations, sold over 3 million albums, packed arenas around the world, and tallied over one billion streams and counting.
Widely regarded as one of the most influential and innovative forces in modern heavy music, Lamb of God’s most recent collection, Omens, arrived in late 2022, marking their sixth consecutive album to debut in the Top 15 on the Billboard 200. Kerrang! noted that the album finds the band “as reliably heavy, violent, and pissed off as ever,” and Consequence said the “album will break you down to nihilistic pieces.”
6th March 2025
Support: Profiler
Photos: Tom Atkin
We look back at the eventful The Hara show through the eyes of our photographer Tom Atkin!
All photo credits: Tom Aktin
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