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Full Split Stream: Lowcard De La Morte / Killseduction – “Kill De La Morte”
Ex-Grindlink guitarist Takafumi Matsubara is always up to something. Lately, it’s his involvement with crossover thrash weirdos Killseduction. Three years after releasing their first demo, Killseduction are back in action alongside Japanese fastcore vets Lowcard De La Morte. Their new split, fittingly dubbed Kill De La Morte, is out on May 29, but Decibel has an early, exclusive stream of the split below.
Lowcard De La Morte get through six songs in under seven minutes, boasting clean production, stompy riffs and flashy guitar licks. Killseduction take a more lo-fi approach, their crossover crossing over into powerviolence territory at times. Other times, like on “Sukimakaze,” Matsubara lays down riffs that are simultaneously discordant and flattening.
“I am very proud of this Japanese crossover thrash split album,” Matsubara says. “Low Card De La Morte is based in Nagoya and has many fans of hardcore/thrash. Killseduction is the experimental band that tries to mix traditional crossover and blast beat. If you have interest in Japanese crossover scene, please get this split!”
Check it out below. Digital and physical pre-orders are available via Bandcamp and HPGD.
The post Full Split Stream: Lowcard De La Morte / Killseduction – “Kill De La Morte” appeared first on Decibel Magazine.
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Watch Max Portnoy (Tallah, Etc.) Take On Led Zeppelin’s “In My Time Of Dying” For Drumeo
The song of legendary drummer Mike Portnoy was unfamiliar with the track prior.
The post Watch Max Portnoy (Tallah, Etc.) Take On Led Zeppelin’s “In My Time Of Dying” For Drumeo appeared first on Theprp.com.
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Matt Zane Shares Emotional Moment With Gene Simmons and Paul Stanley Honoring Wayne Static – @thebeast
FOR IMMEDIATE RELEASE
Matt Zane Shares Emotional Moment With Gene Simmons and Paul Stanley Honoring Wayne Static
Filmmaker Matt Zane, director of the upcoming documentary focused on Wayne Static and Tera Wray, recently captured a meaningful moment during a filming session involving members of KISS.
Following the shoot, Zane requested a brief personal conversation with Gene Simmons and Paul Stanley. During the exchange, he shared the story of Wayne Static’s legacy and his deep admiration for KISS, noting that the band was among his longtime musical influences.
“Gene and Paul were very gracious and attentive as I spoke about Wayne Static, his career with Static-X, and the documentary I am currently working on about him and Tera,” said Zane. “Gene even recognized the name Static-X.”
According to Zane, Simmons and Stanley took time to ask questions about Wayne Static’s life and career before agreeing to pose for a photograph holding a memorial poster honoring the late musician.
“It was a genuinely meaningful moment,” Zane added. “I appreciate them taking the time to acknowledge Wayne’s legacy.”
The upcoming documentary explores the lives, relationship, struggles, and legacy of Wayne Static and Tera Wray, offering an in-depth look at two figures whose story continues to resonate strongly within the rock and metal community.
Follow Matt Zane for more:
https://www.instagram.com/lordzane/
https://www.facebook.com/MrZaneRising -
Binary Order Announces New Single “Wake” From Upcoming Cyberpunk Album The Same Dream – @thebeast
FOR IMMEDIATE RELEASE
Binary Order Announces New Single “Wake” From Upcoming Cyberpunk Album The Same Dream
Pre-Save: https://distrokid.com/hyperfollow/binaryorder/wake-3
Available June 4, 2026
April 2, 2026 – The electronic underground continues its descent into something colder, sharper, and more human than it should be. Binary Order returns with a brand new single, “Wake,” the second release from the upcoming cyberpunk concept album The Same Dream .
Built for fans of HEALTH, Nine Inch Nails, Lorn, Celldweller, Combichrist, and Perturbator, “Wake” pushes further into the blurred space between industrial weight and emotional circuitry, where identity fractures and reality feels increasingly optional.
Created by London-based solo artist Benjamin Blank, Binary Order exists as a vessel for genre collision. Industrial pressure, ambient dread, and IDM precision all collide into cinematic electronic soundscapes designed to feel like transmission from a collapsing future.
“Hello, Wake is the second single from the upcoming album The Same Dream ,” says Blank. “Is it a good song that I think you will like, although it’d be weird if I didn’t say that. Like if I said Wake is alright, it’s actually kind of bad, but then that would probably grab your attention more and result in the inverse effect. Anyway, Wake is the new song, so please listen to it because I have to buy food to live. Thank you.”
That tongue-in-cheek honesty cuts through the track’s dense sonic architecture, but the music itself lands with serious intent. “Wake” blends towering cybernetic synth work, mechanical percussion, and a dark melodic core that lingers long after it ends. It expands the world introduced in “False Memories” and deepens the narrative arc of The Same Dream .
Self-produced, mixed, and mastered by Benjamin Blank, the single reinforces Binary Order’s commitment to full creative control and uncompromising electronic storytelling.
“Wake” arrives as a key chapter in the unfolding concept album The Same Dream , a project exploring identity collapse, isolation, and the psychological weight of digital existence.
Pre-Save: https://distrokid.com/hyperfollow/binaryorder/wake-3
Media Contact: zach@metaldevastationradio.com
Connect with Binary Order:
https://binary-order.com/
https://www.facebook.com/binaryorder
https://www.instagram.com/binaryorder/
https://x.com/BinaryOrder
https://www.youtube.com/@BinaryOrder
https://binaryorder.bandcamp.com/
https://open.spotify.com/artist/7jpOPAjTA299UduJmBmtg7
https://music.apple.com/fr/artist/binary-order/1328917875
Contact:
binaryorder@hotmail.com -
Poppy’s Cover Of Alanis Morissette’s “Hand In My Pocket” Now Streaming
Part of the ‘Mile End Kicks’ soundtrack.
The post Poppy’s Cover Of Alanis Morissette’s “Hand In My Pocket” Now Streaming appeared first on Theprp.com.
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Boxset Review: Lock Up – Brethren Of The Pentagram
Boxset Review: Lock Up – Brethren Of The Pentagram
Reviewed by Dan Barnes
The April release of At the Gates’ The Ghost of a Future Dead album was a stark reminder that, while the wider world had been mourning the loss of Ozzy Osbourne in July 2025, the untimely passing Tomas Lindberg, on 16th September 2025, was an equally comparable loss to the extreme metal community.
Best known for his work fronting ATG, Tomas was nothing if not a versatile performer, who could be found in as diverse projects as the Hardcore-adjacent The Great Deceiver, death thrashers The Crown, and crust punks Disfear and Skitsystem to name but a few.
However, it was his tenure fronting the grindcore supergroup, Lock Up, that filled his time most notably during ATG’s hiatus at the end of the nineties and into the noughties.
Formed in 1998 by Napalm Death’s Shane Embury and the late Jesse Pintado, along with ex- Cradle of Filth and Dimmu Borgir (among many others) drummer Nick Barker, as an attempt to recapture the raw, punk-infused grind that Napalm themselves champion on Scum and From Enslavement to Obliteration, but seemed to lose grip of during the nineties more-death metal sounding albums. The Godfathers of Grind suddenly found themselves being overtaken by the likes of Nasum, Brutal Truth and Rotten Sound, and it was time Grind came home.
With that being said, disc one of this retrospective collection, the band’s 1999 debut, Pleasure Pave Sewers, does not feature the voice of Tomas, rather it is noted producer and Hypocrisy/ Pain frontman, Peter Tägtgren who handles the screams.
While not as punk-infused grind as Jesse’s work on Terrorizer’s World Downfall, PPS’s death grind attack makes the genre feel dangerous again. Opener After Life in Purgatory begins with a scream and twisting guitar as Peter’s vocals bark and snarl and Nick’s drums blast; Submission continues the chaos and Triple Six Suck Angels introduces some groove into the sound. Delirium blasts and growls and we’re even given a wee breakdown for our troubles.
The two-part Slow Bleed Gorgon / Pleasures Pave Sewers begins at a moderate pace, reminiscent of Eighties mid-tempo death metal, launching into a whirlwind grind at the halfway point. Ego Pawn, The Dreams are Sacrificed and Tragic Faith are all unruly and out to destroy, whereas Darkness of Ignorance opts for a more textured approach through an exercise in restraint. Shane shines in the intro section to Salvation Thru’ Destruction; Leech Eclipse is a sub-one-minute rampage and closer, with the previously unreleased, Fever Landscapes, bringing the curtain down on the debut after a mere twenty-nine minutes and some-odd seconds.
When you think back to the state of the metal scene at the time of Pleasure Pave Sewers’ release, you appreciate how welcome this half-hour of uncompromising grind was at the time, and it’s been a real pleasure to revisit it after all these years, and it not having aged a day.
Perhaps it was the influence of Lock Up’s debut, but Napalm Death’s subsequent millennial album, Enemy of the Music Business, which was their first post-Earache release and the last of the band’s albums to feature Jesse’s playing, saw Napalm unleashing musical fury again and began a streak of ground-breaking records that continue to this day.
Peter didn’t return for the sophomore album, and his place was taken by Tomas for more grind-oriented Hate Breed Suffering in 2002. Disc two of this collection is the whirlwind assault that sees Lock Up in a particularly abrasive mood. Opening tracks Feeding on the Opium, Castrate the Wreckage and Violent Reprisal arrive with snapping, snarling vocals, sawing guitars and Nicks’ inhuman drums.
Jesse’s buzzsaw tone permeates the album, from the relentless aggression of the tile track, through High Tide in a Sea of Blood to solid grinders like The Jesus Virus, Broken World and The Sixth Extinction.
Peter’s departure does not rob Lock Up of those Deathy riffs, which can be heard on Dead Sea Scroll Deception, Horns of Venus and among the infectious progression of Catharsis; the two-part tune Fake Somebody / Real Nobody is reminiscent of the debut’s Slow Bleed Gorgon / Pleasures Pave Sewers, as it begins slow and deliberate before exploding into rampaging fury and concluding in some Deathy licks.
Hate Breeds Suffering isn’t all about the fiery anger; there are also moments which get your foot tappin’, as on Detestation, maybe even a little groove on Slaughtered Ways and a hooky riff in Cascade Leviathan, all ensure the record never becomes predictable.
As this is a Cherry Red product, we get three bonus tracks, including the loose bass of Satan’s Generation and live versions of The Dreams are Sacrificed and the previously unheard Storm of Stress.
It would be nine-years before Lock Up would produce album number three, 2011’s Necropolis Transparent, which found another unfortunate personnel change after the untimely death of Jesse Pintado in 2006. Replacing him arrived Anton Reisengger, of Pentagram (Chile), thrashers Criminal and the short-lived eighties project, Fallout.
Neither the years nor the change of personnel blunted Lock Up’s cutting edge and that is proved without a shadow of a doubt by Necropolis’ commencing trio of Brethren of The Pentagram, Accelerated Mutation and The Embodiment of Paradox and Chaos, all of which launch the album in the fiery, most fierce way possible, with unrelenting grind. Unseen Enemy, and the latter-album tunes Infiltrate and Destroy, Discharge the Fear, Vomiting Evil and Stigmartyr ensure there’s no reduction in the ferocious energy of the record as it nears its conclusion.
Blending styles to a greater extent than the previous two records, Necropolis Transparent experiment with variation on the likes of Through the Eyes of My Shadow Self, which reveals in an introspective musing, the slow, almost doom-death pacing of Tartarus, and the dark atmosphere of Stygian Reverberations. You’ll even find danceable grooves on Parasite Drama and Rage Incarnate Reborn to lighten the mood a tad.
Not wanting to fully forget their death-grind past, the band give you the crunch title track, and Anvil of Flesh, both of which owe something to the early Morbid Angel sound; Roar of a Thousand Throats even brings in a breakdown to maintain the interest factor.
Bonus tracks on disc three are new versions of After Life in Purgatory and Feeding on The Opiate recorded during the Necropolis sessions, a demo version of The Embodiment of Paradox and Chaos and the unreleased charging grind of Thus the Beast Decapitated and Infinite In Its Nothingness.
The fourth and final disc of this collection is Lock Up’s 2005 live album, Play Fast or Die: Live in Japan. As a band, Lock Up were not the most prolific live act, with their most recent visit to UK shores being with Napalm Death, Brujeria and Power Trip in 2017. Those of us who witnessed the band’s British debut at the under-rated Damnation 2009 festival were assured that Lock Up were one of the rare example of a ‘super-group’ equal to the sum of its parts.
Picking from the first two records, disc four is a pummelling twenty song blast of grinding energy, capturing the show from Nagoya’s Club Quattro in June 2002. It is largely the first-time of hearing Tomos singing Peter’s songs, giving the death-grind of After Life in Purgatory, Submission and Tragic Faith a more punk aspect. It’s three-quarters of an hour of utter brutality.
Brethren of the Pentagram is an essential collection of one of grind’s most important actors coming together at the peak of their talents. Lock Up would go on to release two further records, Demonization in 2017 and The Dregs of Hades in 2021, with the drum stool being taken over by Misery Index’s Adam Jarvis and Brutal Truth’s Kevin Sharp sharing vocals with Tomos, for the continuation of the band’s impressive legacy.
The post Boxset Review: Lock Up – Brethren Of The Pentagram appeared first on The Razor's Edge.
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Galvanist – The Silence Between Stars Review
I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3
With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.
Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.
It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.
Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026The post Galvanist – The Silence Between Stars Review appeared first on Angry Metal Guy.
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UK Deathcore Force Suffer Announce Crushing New Single “Soul From Flesh” – Out May 29, 2026 – @thebeast
FOR IMMEDIATE RELEASE
UK Deathcore Force Suffer Announce Crushing New Single “Soul From Flesh” – Out May 29, 2026
UK deathcore heavyweights Suffer are back with a brand new slab of punishment titled “Soul From Flesh,” set for release on May 29, 2026 . The single is now available for pre save across all platforms ahead of its official drop.
Pre save here:
https://arsontheory.vyd.co/SoulFromFlesh
This release marks the next chapter in the band’s ongoing resurgence following their reformation and renewed lineup in 2025. With a sharper edge and a heavier, more deliberate direction, Suffer continue to build momentum after the impact of their recent era reset and the release of “Pendulum of Vengeance.”
But “Soul From Flesh” is not just another single. It is the title track of their upcoming EP , due August 2026, with the artwork for this release doubling as the official EP cover. The band will be revealing full EP details in June once final tracks are completed.
This is Suffer operating with intent, no filler, no compromise.
The track continues their exploration of raw human instinct and internal conflict, pushing further into the darker psychological territory the band has become known for. Expect violence in tone, precision in delivery, and zero interest in playing it safe.
The band shared that the release cycle is now fully locked in, with everything building toward a larger statement piece arriving in August. More details on the EP will follow soon.
“Soul From Flesh” was forged through the same modern lineup that has reignited the band’s identity, featuring Greg Hevican on vocals and Klaudiusz Trzebuniak on guitar. The chemistry has already proven itself on stage and in the studio, and this next release pushes it even further.
Following a run of explosive live shows and a growing European presence, Suffer are continuing to expand their reach under their booking partnership with DC Sound Attack .
The single will also be supported by visual content premiering via major underground metal platforms including Slam Worldwide .
This is not a reset. It is a continuation with the volume turned way past safe limits.
Release Details
Artist: Suffer
Single: Soul From Flesh
Genre: Deathcore
Release Date: May 29, 2026
Pre save: Available now
EP: TBA (August 2026)
For Fans Of: Whitechapel, I Declare War, Bound In Fear
What’s Next
Suffer are currently preparing the full announcement for their upcoming EP, due June 2026, alongside additional singles and an expanding run of UK, Ireland, and European live dates.
28/05 – Riff Factory, Stoke-on-Trent (UK)
02/06 – Vic Inn, Derby (UK)
03/06 – Live Rooms, Chester (UK)
04/06 – Moor Brewery, Bristol (UK)
05/06 – Aatma, Manchester (UK)
06/06 – Gorilla Studios, Hull (UK)
07/06 – The Dev, London (UK)
14/08 – DVG Club, Kortrijk (BE)
15/08 – 6k Fest, Liege (BE)
16/08 – Kinett, Kusel (DE)
18/08 – Headquarters, Aarhus (DK)
19/08 – Wakepark, Szczecin (PL)
20/08 – Doro 40, Limbach-Oberfrohna (DE)
21/08 – Deathfeast Open Air, Andernach (DE)
22/08 – Brasserie Breweppes, Lille (FR)
29/08 – Noosefest, Birmingham (UK)
05/09 – Alma Inn, Bolton (UK)
15/10 – TBA, Glasgow (UK)
16/10 – TBA, Inverness (UK)
17/10 – TBA, Aberdeen (UK)
18/10 – TBA, Edinburgh (UK)
24/10 – Rebellion, Manchester (UK)
27/11 – Engine Rooms, London (UK)
More announcements are locked and loaded.
This is Suffer tightening the grip. Not easing off it.
Connect:
https://linktr.ee/sufferuk
Contact:
sufferuk@gmail.com
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Saliva Premiere “Sadistic Love” Video, New Album “Breaking Through” Due In August
Sadistic viewing.
The post Saliva Premiere “Sadistic Love” Video, New Album “Breaking Through” Due In August appeared first on Theprp.com.