Ska-punk veterans and live-show ringmasters Less Than Jake are set to release ‘Another Hostage Situation’, a B-side from their

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Leon Majcen recalls getting overpaid at his first gig at 13, describes his old day job at a Nashville tree company, and explains why he tailors every show to the room that he’s playing.

Jay Pinto’s Mostly Out of Habit is a quietly reflective piece of indie folk that finds beauty in the ordinary. Built around the small, repetitive gestures of everyday life—waiting, reaching, arguing, continuing—the song observes how much of being human happens almost automatically. There is a gentle, unhurried quality to the arrangement, allowing Pinto’s songwriting and intimate vocal delivery to carry the emotional weight.

Rather than forcing a dramatic narrative, Mostly Out of Habit stays close to the everyday, turning familiar routines into something quietly profound. Its folk-rock character gives the track an organic warmth, while the lyrics leave plenty of space for personal interpretation. Thoughtful, understated and deeply human, it is the kind of song that grows more affecting with each listen, finding meaning in the simple act of carrying on.

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Alex Terrible has issued the most detailed statement of his career about the Nazism allegations that have followed him for a decade — and for the first time, he addresses the specific thing at the center of them. The Slaughter To Prevail vocalist names the Black Sun tattoo he has since covered up, acknowledges he knew the symbol’s history when he got it, and concedes that his own interpretation of it doesn’t erase what it means to other people. He also has a message for the companies who won’t work with him, and a longer one for the people who did.

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Scott Penfold covers the Alex Terrible statement on today’s Metal Breakdown Daily — what he actually said, what’s different about this one, and the post he put up two days earlier and deleted. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.

What he said

The statement went up on Instagram on Sunday, September 14, and it’s addressed to a specific audience — not fans, but the industry.

His opening: he wants to make something very clear to anyone who works with him, wants to work with him, or is considering doing business with him in future. He has big plans for his music, his career, and everything he’s building around it.

Then the problem, stated plainly. Over the years, some people and companies have chosen not to work with him because of the controversies around his past. Some have told him privately that they respect him and support him, but are afraid of how being associated with him might affect their own reputation.

His response to that is not what you’d expect: I understand that. Everyone has the right to make their own decision.

And then the line the headline comes from.

“I am not a Nazi. I have never considered myself a Nazi, and I never will.”

The Black Sun, addressed directly for the first time

This is the part that makes this statement different from every previous one, and it’s worth reading properly rather than summarised.

He says that as a teenager in Russia he spent time around right-wing people and the football hooligan subculture. Then the admission most people in his position wouldn’t make:

He knew what the Black Sun was, and he knew its history.

But within that specific subculture, at that time, he says he did not perceive wearing the symbol as a declaration of Nazism or fascism. To him, it represented something extreme, rebellious, and connected to the environment he was surrounded by.

Then the concession — and this is the whole statement, in three sentences:

Looking at it now as an adult, he understands that his personal interpretation of a symbol doesn’t erase its history, or what it represents to other people. He understands why people see it and immediately make certain assumptions about him. And he understands that choosing to put that symbol on his body was his decision, and he takes responsibility for that decision.

But, he adds, it does not mean that he was, or is, a Nazi.

The tattoo has since been covered up.

Why that paragraph matters

I want to be careful here, because it would be easy to either over-praise this or dismiss it, and neither is honest.

What’s different is the concession. Almost every statement of this kind — in music, in sport, in politics — rests entirely on intent. I didn’t mean it that way, therefore you’re wrong to read it that way. It’s the standard move and it never works, because it asks the offended party to accept that the speaker’s private meaning outranks the public one.

Terrible doesn’t do that. He says he knew what it was. He says his reading of it doesn’t erase what it is. He says the decision was his and he owns it.

That’s the argument that was available to him all along and he’s never made it before. August’s statement was a general denial — he’d made some stupid mistakes and he isn’t a Nazi. December 2023’s was similar. This one deals with the actual object.

Whether it’s sufficient isn’t my call and it isn’t the same answer for everybody. Someone who lost family to that symbol is entitled to a different conclusion than someone who didn’t, and nothing written here changes that. But it’s a materially better statement than anything he’s produced before, and pretending otherwise to seem tough would be dishonest.

The message to the industry, which is unusually blunt

The back half of the statement is about work, and it’s the section that will get least attention and is arguably the most revealing.

On companies who won’t touch him: if you don’t want to move forward with him or work with him because of the controversy around his past, he understands. But he also won’t work with you in the future.

And then this, which has a real edge to it:

A lot of people turned their backs on him in the past, and then once he became successful, suddenly they wanted to work with him despite the exact same controversy. No, thank you.

That’s not a man asking to be forgiven. That’s a man who has reached a position of leverage and is using it to close a door from his own side.

Read alongside the rest, it tells you what this statement actually is. It isn’t an apology tour. It’s a line in the sand aimed at labels, promoters and brands — here is my position, decide, and understand that your decision is permanent in both directions.

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And the thanks

He closes on the people who didn’t walk.

To everyone who has worked with him and continues to work with him — every label, band, company and person involved — he says he truly appreciates them. That he understands they’re sometimes putting their own reputation on the line by standing beside him.

Thank you, genuinely, for not turning your backs on me because of the mistakes I made in my past, and for believing in me as a human being.

He also states, flatly, that he’s not right-wing and not left-wing. That he’s a musician, a father and a husband trying to understand himself and become a better version of himself.

Elsewhere in the statement he refers to being barely able to leave the house at that period of his life because of serious health problems, which is offered as context for how isolated he was as a teenager rather than as an excuse for the decision.

Two days earlier, he posted something very different

And here’s the context that makes this story worth more than a transcript.

On September 12, Alex Terrible posted about people insulting him online. It was a long argument about his right to answer back on his own platform — that somebody comes onto his page, insults him, and then he’s the bully for responding. It opened with the line about understanding Ronnie Radke better than most people, and it closed by asking whether he’s supposed to live by a different set of rules just because he has followers.

He deleted it within hours. We covered it here.

Two days later, this went up. Specific instead of defensive. About the allegation instead of the people making it. Taking responsibility instead of arguing about fairness.

And it’s still up.

That’s a man working something out in public — getting it wrong, taking it down, and coming back with a considerably better version. Most people do that privately. He’s done it on a platform with millions of followers inside seventy-two hours.

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The wider record, for completeness

The allegations, stated fairly: Terrible has documented past associations with neo-Nazism, including the Black Sun tattoo, and the football hooligan subculture he describes himself. He has faced these allegations publicly since at least 2023. He has also faced allegations of homophobia over past social media commentary, which he denies.

His position, stated fairly: he has consistently denied ever subscribing to Nazi ideology — in December 2023, again in August of this year, and now in the most detailed form yet. He now describes the associations as mistakes he takes responsibility for.

Both of those things are true at once, and any coverage that includes one without the other is misreporting it.

Where Slaughter To Prevail are right now

Worth noting, because the commercial context is part of why this statement exists.

The band are one of the biggest names in modern deathcore, and their profile has grown sharply — Terrible’s solo cover of Korn’s “Freak On A Leash” landed in August and did substantial numbers. They added eight more North American dates to their autumn run earlier this month, on top of an already full schedule.

Deathcore has spent the last few years moving from the far edge of the genre toward something close to the mainstream, and Slaughter To Prevail are one of the reasons why.

Which is exactly the point at which the question of who will and won’t do business with you stops being theoretical.

TL;DR

• Alex Terrible issued a detailed statement on Instagram on September 14 addressing the Nazism allegations that have followed his career, opening with: “I am not a Nazi. I have never considered myself a Nazi, and I never will.”
• For the first time he addresses the Black Sun tattoo specifically. He says he knew the symbol and its history as a teenager in Russia, but within the football hooligan subculture he was part of did not perceive wearing it as a declaration of Nazism.
• The key concession: he says his personal interpretation of a symbol “doesn’t erase its history or what it represents to other people,” and that putting it on his body was his decision, for which he takes responsibility.
• The tattoo has since been covered up.
• A message to the industry: companies that won’t work with him now won’t get the chance later. He notes that people who turned their backs previously came back once he became successful — “No, thank you.”
• Thanks to those who stayed: he acknowledges that labels, bands and companies who work with him are putting their own reputations on the line.
• He also states he is neither right-wing nor left-wing, describing himself as a musician, father and husband.
• Two days earlier he posted a defensive statement about online critics and deleted it within hours. This one is still up.

FAQ

The first statement he’s made that deals with the actual object rather than the accusation. Where do you land on it? Tell me below. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

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Costumed Canadian microtonal math-rock sensation Angine de Poitrine blew up beyond anyone’s expectation over the past year, largely on the strength of viral videos from their KEXP session. It’s easy to imagine today’s new footage making its way around the internet too. After making their UK TV debut back in June, the band took to the US airwaves for the first time Monday night, guesting on Jimmy Fallon’s Tonight Show.

The post Angine de Poitrine Make US TV Debut On <em>Fallon</em> appeared first on Stereogum.

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Def Leppard, Britain’s greatest arena rock band, release “Volume 4”, the fourth of six volumes showcasing the band’s complete recorded output. Available on both 180g […]

The post Def Leppard’s Volume 4 Boxset – Containing Exclusive Rarities Coming Nov. 13th appeared first on Metal-Rules.com.

Possumwulf’s You Can’t Kill My Love is a wonderfully unruly piece of alternative rock that refuses to settle into one shape. Rooted in Southern Americana but pushed into art-rock and post-rock territory, the track begins with ethereal strings and acoustic guitar before gradually erupting into a dense wall of fuzz and abrasive horns. There is a raw, almost feral quality to the arrangement, with the rough edges becoming an essential part of its character.

The song carries a strong sense of defiance, reflected in its increasingly confrontational sound. Possumwulf’s distinctly Southern perspective gives the track an earthy identity, while the unpredictable shifts between fragile and explosive passages keep it constantly engaging. You Can’t Kill My Love feels like a beautiful mess by design—dark, noisy, dramatic and gloriously resistant to convention.

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