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Beautiful Days 2026

The post Beautiful Days Festival : Aug 2026 : Live Review appeared first on Louder Than War.

Our Top 10 Amanda Marshall songs list features the best Amanda Marshall songs, including “Let It Rain,” “Birmingham,” “Believe in You,” and more. Even without those well-known hits, this talented Canadian singer has plenty of musical offerings. She was born in Toronto on August 29, 1972, as an only child of a Canadian father and a Trinidad-born mother. Marshall has long described herself as “the product of an interracial marriage” and has even reflected on this in some of her songs, such as “Shades of Gray.” No, that song doesn’t make our top ten list, but it still illustrates how

The post Top 10 Amanda Marshall Songs appeared first on ClassicRockHistory.com.

Since emerging from the shadows of London in 2017, Green Lung have taken the raw materials of British heavy music; Black Sabbath’s riffs, Deep Purple’s Hammond organ, the theatricality of classic metal, progressive rock’s sense of adventure and the sinister folklore of Britain’s forests, churches and moors and transformed them into something recognisably their own. … Continue reading Album Review: Green Lung – Necropolitan

Posted on August 25th 2026, 1:04pm

Canadian/American metallers Smoulder return with their long-awaited third studio album, Witch Wife in an Alien World, a bold, daring collection of eight songs that continue to push boundaries and shatter conventions. The opening track “Water Wars” has been premiered here with a lyric video: https://youtu.be/ZMJmxvxqfWs?si=Ds2UqGvttKsWe9pL Witch Wife in an Alien World is scheduled for October 9th… Continue Reading →

Mariae Cassandra has shared a new track titled ‘Splinters’ that showcases why she is such an exciting new voice in pop as well as rock.

Pulling on the sort of melodies that get lodged in your head with the sort of revealing and earnest lyricism that lingers with you long after the music has faded, it’s a perfect, pretty, and poignant offering that feels like it will resonate with all who hear it in a unique way.

It’s a raw, real and relatable piece from an artist that, even this early in their journey, has placed their fork firmly in the road.

Mariae had this to say about it:

“By the time I was 16, I was carrying unresolved wounds that made it difficult to move forward,” says Mariae. “After writing the first demo, I disliked it because it felt too real. Two years later, I returned to it with a different perspective. I rewrote parts of the song to reflect who I had become during that time, shaping it into what it is now.”

It’s the first music from Mariae since she released her EP ‘Everything In My Backpocket’ last year.

Here is ‘Theodore’ from that very release:

The post Mariae Cassandra Shares Delicate New Track ‘Splinters’ appeared first on Rock Sound.

Glenn Richards announces new single, Pest, and tour dates along with details of his new solo album The Great Behind with the Venus Lakes (available October 9th) on Johnny Depp’s IN.2 Records. Over the years Australia has produced a number of celebrated musicians and singer songwriters who occupy only a ‘cult’ status in the United […]

The post Glenn Richards announces new single and album The Great Behind via Johnny Depp’s IN.2 Records appeared first on Louder Than War.

Two of the biggest names in the international metal scene are joining forces once again in April 2027: In Flames and Trivium will embark on a co-headlining tour of Europe, playing eight shows in Germany. Trivium and In Flames share a long history. For two decades now, the touring paths of both bands have crossed… Continue Reading →

Taylor Acorn and Knox have joined forces on a track called ‘Isn’t It Strange’ that pulls on both of their musical strengths.

A thoughtful, emotional, vibrant pop-rock crossover, it feels timelessly nostalgic and as fresh as a daisy. Bouncing off each other beautifully and giving the sort of earnest performances that make the realisations that heartbreak doesn’t always have to lead to hurt, but instead can show you exactly where you need to go, it’s a match made in Heaven.

Taylor had this to say about the creation of the song, stating, “I’m so excited for the world to finally hear ‘Isn’t It Strange!’ We wrote this song back while writing my album Poster Child early last year – we had already written a song that day and started messing around on the guitar and it just fell out so seamlessly. When we were cutting vocals, Knox had the idea of throwing his on too just to see what would happen and it was truly like magic. We were all so stoked and have been praying it would eventually see the light of day. I love this song so much, we are so proud of it, and I hope everyone loves it as much as we do.”

The track is set to appear on the deluxe version of ‘Poster Child’, which will be released on October 23 via Fearless Records.

We chatted to Taylor earlier this year for an episode of 7of30, which you can check out below:

The post Taylor Acorn & Knox Team Up For Beautiful New Track ‘Isn’t It Strange’ appeared first on Rock Sound.

For a band you’ve most likely not heard of before, Shabti sports a remarkably intriguing pedigree (at least for my tastes). You see, Shabti is comprised of members from Falls of Rauros, Obsidian Tongue, Fires in the Distance, and even live Panopticon performers. These aforementioned names will likely ignite the interest of fellow atmo-black lovers as they did to me. Instead, annihilate those puny expectations, for Shabti is actually an amalgamation of proggy, techy, blackened death, much to my surprise. Surprise, but not chagrin – the pre-release single “Rise of the Shabti” got me sufficiently excited, and I trust the weathered musicians of Shabti to deliver something great on the enigmatically titled Haze, Cacophony, and White Light.

Shabti wastes no time playing their hand, coming out the gates of “Ambrosia and Lambs Blood” sprinting at full speed. It’s immediately clear that Haze, Cacophony, and White Light leans eagerly into its prog aspects, often reminding me of Neuraxis in a way I genuinely struggle to justify. Riffs barrel on by, connected by endless, labyrinthine little guitar and drum fills. Shabti likes to teeter their music right on the edge of weird, with slippery compositions and a flirtatious attitude towards dissonance, though I’d say it never quite takes the full plunge. Furthermore, the album just sounds excellent; the performances are snappy all across the board, and the sound mixing is crisp and clear. I particularly enjoy the sound of the guitars; they have a swinging weight heard especially well in the riffs of “Rise of the Shabti.” By all measures, the sonic ingredients of a good album are here.

Sadly, it never quite comes together into a memorable, exciting album. The song structure is loose in a way that there’s never really a satisfying build or climax, and few riffs ever stand out in my memory for longer than a song’s duration. Outside of the noteworthy, pleasant gallop in the latter half of “Blood for a Blessing,” if you threw me anywhere between the opening “Ambrosia and Lambs Blood” and “Haze, Cacophony, and White Light,” I don’t think I could identify which song it was. The funny thing is that very little stands out as actually bad; it’s just that nothing ever quite coalesces. In a vacuum, I can appreciate the guitar work in “Ambrosia and Lambs Blood,” and I appreciate the harmonic play that closes the title track, but there ever remains little identifiable direction or momentum. Well, in that regard it’s worth mentioning the nearly 10-minute “A Weary Creation”; it’s notably more structured and loops back into its earlier ideas, but there’s not enough strong material to justify the runtime, and the song approaches being unpleasant.

Still, there are some exceptions. The penultimate “Sojourner” is pretty solid, with some stronger melodic focus, and the closer “Rise of the Shabti” is easily the album’s best. It employs refreshingly chunky riff-work without sacrificing the structural weirdness, and is always the song I’m most excited for. I’ll remind you that “Rise of the Shabti” is what got me so excited for the album in the first place, and I do wish Shabti leaned just a little more in that direction for their next album. The strong final stretch ensures the album never ends on a truly sour note, and to the album’s credit, Haze, Cacophony, and White Light clocks in at just around a clean 40 minutes.

Haze, Cacophony, and White Light is complex, undeniably so. But even as the winding path the album takes became clear across my usual slew of endless replays, the album refused to click. It’s eccentric enough to avoid actual boredom, but too aimless to inspire excitement. It’s clear that there’s a ton of solid ideas behind Shabti that work well enough in a vacuum, but just never quite seem to congeal together in the right way. Nevertheless, Shabti are no hacks, and if my words have made you curious, then I do encourage you to check it out at least.

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Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Contemn Light
Websites: facebook | bandcamp
Releases Worldwide: August 21st, 2026

The post Shabti – Haze, Cacophony, and White Light Review appeared first on Angry Metal Guy.