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I first heard Danielle Nicole when she was part of Trampled Under Foot with her brothers, Kris and Nick Schnebelen. I do remember that I really liked what I heard, and I believed that I would be seeing and hearing much more of them somewhere down the road.

I am not surprised that Danielle Nicole has evolved into a solo artist who is still thumping that bass and sharing her superb, soulful vocal ability with a large audience of appreciative music lovers. You might say that she was born into music, with her dad being a blues guitarist and her mom a vocalist. She is a multi-award-nominated blues artist who has taken home wins for her bass-playing ability and her recorded music.

Her newest solo release, her fourth, is Fireflies, and it is scheduled for release on August 28 on Forty Below Records. It was recorded live to analog tape in her hometown of Kansas City, Missouri, and produced by Tony Braunagel. The musicians who appear with Danielle Nicole on this recording include her husband, Brandon Miller (guitar/vocals); Jim Pugh (keyboards); Tony Braunagel (drums/percussion); Maxayne Lewis and Melodye Perry (background vocals); and a special appearance by Luther Dickinson of the North Mississippi Allstars (guitar). This album is said to have possibly been shaped and influenced by the passing of Danielle Nicole’s brother, Kris, who died from that terrible disease called cancer in 2022.

Fireflies is a collection of eleven exceptionally written, arranged, and performed songs that will certainly be embraced by those who already follow and enjoy Danielle Nicole’s music and will surely win over those who are not familiar with her. You are going to hear a little R&B, some rock, a little soul and a good, gracious helping of blues.

I love when artists make a solid decision about what their opening song will be because it really sets the feel for the whole album. “Radical Love” opens this recording with a splash of guitar, and then it’s off we go to begin the listening journey ahead. This is a Jodi Siefel and Jeff Sibar-written tune, and kudos go out to them for their work on this piece. Danielle Nicole sings, “Radical love is all we need. That’s what’s going to save us; the only weapon that we need.” Witnessing much of what’s going on in our world today, we all could use more “Radical Love.” There’s also a fiery guitar break in this one that seasons the song to near perfection.

Track two is “Take Me Back,” and if you love some super-fine guitar playing, then you are going to relish the work done on this one. Luther Dickinson (North Mississippi Allstars) makes a guest appearance on this song and adds some of his own personal touch to this dish. Listen for when Danielle Nicole says, “Alright Luther, take us back.” There is also great keyboard work going on in this cut. Danielle Nicole sings, “drinking muddy water while I’m howling at the moon.” I just can’t get that vision out of my head, and I’m thinking that I might just have to give that a try one of these nights. I wonder what my neighbors will think. I also love the short breaks in this song where the drum keeps the beat going before the other musicians jump back in.

The fourth track on Fireflies is “Soulside.” I am a sucker for those organ sounds going on, and this R&B-flavored, grooving piece has got it going on. Danielle Nicole sings, “I was looking for someone to show me the way. It’s the soul of your heart that will heal your world.” This sounds so much like a “hurting song” to me, and you can almost feel the pain firsthand while listening.

You’ll also find some really tasty guitar playing on this one, and it’s a good place to mention what a great job Brandon Miller does throughout the whole album, as well as the great work exhibited by the rest of the band members.

“Tug Of War” is the ninth song, and if you’re looking for that dancing tune in this mix of tracks, stopping on this one will do the trick. “Ain’t no tug of war; ain’t going back and forth,” Danielle Nicole sings. She doesn’t stop there either, singing, “Thought I’d be on my knees, begging you baby please, please baby don’t you leave. Instead, I took back my key.” I don’t feel any regrets coming from her, either.

Fireflies is surely another very well-done album overall by Danielle Nicole. Koko Taylor is credited with once saying this about Danielle Nicole: “That girl gets down to the nitty gritty.” I couldn’t say it any better than that myself.

You can catch Danielle Nicole on YouTube for some of her solo work and her work while with Trampled Under Foot, but you can really do yourself a favor, and do a favor for her and the band, by getting out and catching them live somewhere. They are currently on tour for August and September in the U.S. Check the band’s schedule for details.

The Review: 9/10

Can’t Miss Tracks

– Radical Love
– Take Me Back
– Soulside
– Tug Of War

The Big Hit

– Take Me Back

The post Danielle Nicole: Fireflies Review appeared first on Blues Rock Review.

After debuting new songs over the weekend, Fontaines D.C. took to their socials to confirm a new album called Dopamine Chamber is on the way. Now we’ve got some official details and one (1) studio recording. Produced by James Ford, the follow-up to 2024’s Romance will be out in October on XL. Lead single “Marianne” is out now with visuals by music video director Dave Meyers.

The post Fontaines D.C. Detail New Album <em>Dopamine Chamber</em>: Hear “Marianne” appeared first on Stereogum.

Where they from?
Prague, Czech Republic. How come when football season finally rolls around, all of a sudden, people wanna do shit on Sundays? You wanted to get married on a Sunday? You had all of March/April, now I have to fantasy-relevant AFC South matchups because you wanted a spooky fucking wedding.

Why the hype?
If there is a such thing as a, uh, “tasteful” pornogrind band, these Czech grinders might be it. I’m not gonna be looking up the lyrics any time soon, but there are solid, modern gore riffs to be had here and pterodactyl vocals to go over those sick riffs to make them pop even harder. My favorite moments are when the guitar sort of bows it’s head and we go into bouncy Slipknot mode, gets me every time.

Latest release?
Jigoku, out now on Bizarre Leprous Productions. It’s been seven years since the band’s last record, Entrails Tsunami, which happens to be a personal favorite of mine. I happen to think this new one is even better as the songs are more dynamic and memorable. Now if you’ll excuse me, I have to Google “Rokorokubi Throat Sutra.”

The post Blast Worship: Jig-Ai appeared first on Decibel Magazine.

The post Classic Album Review: KORN ‘Follow The Leader’ appeared first on INFRARED MAGAZINE.

How Ysbryd of Wales adapts black metal to his platonic ideal of the genre is summarized in the title of his latest album, Welsh Mythical Darkness. Released under his Ysbrydnos moniker, it’s a séance with the nocturnal and folkloric forces underscoring his Welsh heritage. It’s also his sixth release since 2022 as Ysbrydnos, and that’s not counting the splits, live recordings, EPs, and compilations he’s put out under his dungeon synth alias, Altar of Moss, and his other mantles.

Frustratingly, building a lore around Ysbryd and his label, Nocturnal Curse, through which he releases most of his music, comes off as fanfiction. It’s a desperate search for narrative cohesion. It ceases to apply to an artist as nonchalant about composing as Ysbryd, whose approach is as follows: “With every band I establish parameters for the sound and instruments I want to use before I begin. So that once I have my footing I can improvise within these boundaries and feel creative freedom.”

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Regardless of those parameters, Ysbryd’s works are all abrasive and unassuming. Fuzz and discoloration are instruments in his hands, with the production acting as the barrier between our world and the spirit world in which he works. That’s what Ysbrydnos means, after all; a time of the night when the veil between realms is thin and permeable. It comes from Welsh folklore, and to Ysbryd, represents “a communion with Nature and spirit through meditation and study. I think the unfettered sound and pure creativity that emerges is the focus of the name now. Myself as Ysbryd taps into my internal world, and I feel I’m expressing my inner spirit as I write and create for this project more than any other.”

It then follows that Ysbrydnos is his most prolific project as of now, as it feels the closest to him. Other titles present as characters Ysbryd plays. These include: “Enshroud is raw vampiric black metal, so I use a lot of detuned synth sounds and sound FX to create the atmosphere of haunted forests, crumbling castles that hide vampires. Barrow Lord is a much more bombastic, war-like black metal sound, with more synths and a magisterial feeling that I knew Vass of Vassus would enhance with his oratory vocal style. Brechfa & Crisis Apparition are more DSBM-influenced.” 

What distinguishes his work from similar ilk is quite glaring, occasionally. There are few instances of flute appearing in raw black metal, yet it marks nearly all of Ysbrydnos’ releases. Elsewhere, the differences are more fundamental and nuanced. Take Brechfa’s Hallucinations of Saturnalia, which Ysbryd deems “one of the best black metal albums I’ve written.” Whereas Ysbrydnos stitches Celtic folk music, dungeon synth, and black metal together, Brechfa practices black metal orthodoxy. 

“With Brechfa, I was listening to a lot of Revenant Marquis and other bands from the ‘Pembrokeshire Black Circle,’ so they directly inspired the rougher sound, howling vocals, and more oppressive atmosphere I wanted to create. I also feel they’re some of my best riffs, and enjoyed making music darker than my usual output with Ysbrydnos.”

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Ysbrydnos has evolved quickly in the span of a few years. Compare the sharpness of their debut, The Forest Howls At Dusk, to the homespun Welsh Mythical Darkness. The development was circumstantial, in part, as Ysbryd faced line-up changes and reverted Ysbrydnos to a solo project. He assumed more responsibilities and grew tired of waiting for others to record and mix. He adopted a rawer production style and a songwriting ethos that played into it, since he was less accomplished than his former producer Saidan (yes, that Saidan).

Saidan’s production lifted Ysbrydnos’ first three releases above the mist and roughage. They’re lean and piercing, pronouncing the contrast between black metal and Agata Tutkaj’s flute. Tutkaj, Ysbrydnos’ former vocalist, influenced the project’s direction by adding flute arrangements to The Forests Howl at Dusk, and Ysbryd built off them with synths. It’s as if Tutkaj nudged Ysbryd closer to realizing his vision for the act, an un-Earthly entity communing through black metal and Celtic overtones. It would take some time for him to adapt after Tutkaj departed in 2024.

Ysbryd’s next release was Siant Derwyoddol EP, a showcase for his riffing and songwriting on the most basic fronts. It’s transitional, seeing as it was his first solo release under the Ysbrydnos mantle. It set the stage for Welsh Mythical Darkness, which confirmed that he could implant his ideals into the project without outside aid. He says, “I’ve been using sound font players and VST’s in Altar Of Moss for so many years that I was comfortable programming flute melodies to include on Welsh Mythical Darkness; and also used more strings and folk instruments alongside me doing live percussion.”

Permeating each Ysbrydnos release is the intersection of Welsh identity, class, and, of course, darkness. Cursory scans often pick up these convergence points instantly, as on tracks like “Spectral Hounds of Annwn” from The Forest Howls at Dusk. “Culturally I hope to represent the working class and downtrodden, the outsiders on the fringes of society and those fallen through the cracks of the system, and hopefully remind Welsh people of their history, how lucky we are to have these epic landscapes and stories, and that a hectic, modern life ruled by corporations can be met with quiet, personal resistance through connection with nature and choosing carefully where to place your attention,” Ysbryd says. 

That statement is practically the mantra for dungeon synth as a whole. Ysbryd’s take on the genre, whether with Altar of Moss or used as interludes on his metal albums, is rustic and modest, tying it to an unhurried Welsh lifestyle. The mundanity that modern work breeds and our hyperonline ecosystem stifle imaginations and unsettle the mind. Ysbrdynos rediscovers those delights through nature and meditation; two key elements to black metal and dungeon synth. 

“Communing with nature as a part of the religious experience of black metal is important to me. Meditation is just another way to access that spiritual dimension, perhaps when you can’t get to the woods or mountains, and attempting to remove your ego as the driving force behind creating or releasing your music seems more achievable through black metal or dungeon synth for me than any other genre.“

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Idealizing freedom from labour and fleeing the wage-driven market are working class aspirations. To be working class is to live to sell your time and energy, all moments extracted for others, leaving a dearth of individual expression hamstrung by lack of time, resources, and fuel. It’s a luxury to do nothing. It makes sense that Ysbryd carves meditative practice into his music. He points out that most Welsh people are, and remain, working class. “A Fallow Harvest” from Welsh Mythical Darkness speaks of “the downtrodden outlook of the working class at the hands of exploitative employers.”

Escapism isn’t the goal. All of his albums, but particularly Welsh Mythical Darkness, delve deeper into their worlds rather than fabricate lofty fantasies. Ysbryd finds his nation’s mythology magnetic for its superstitious elements. He ventures into Wales, musically speaking, to best represent it. Numerous Southern and Western Welsh locations receive mention, including Mynyddcerrig (“Full Moon Over Mynyddcerrig”), Carmarthen, where he wrote the first Ysbrydnos album and Phantasmal Bells EP, and Iron Age Hill Fort, where he roamed the fields and woods as a child. 

“I never wanted to write from outside of my own culture or point of view – the ‘cosplay’ element of black metal is already enough of a pose without pretending to be something you’re not,” he says. “The use of mythology and historical landmarks is another way to connect the body of work to the landscapes that surround or have inspired me. Speaking of Wales’ past and attempted conquest is me reminding Welsh listeners what we’ve made it through as a nation; that our language still exists despite it being banned for generations of oppression; that Wales is more than hills and rugby – it’s a vibrant Celtic culture akin to Ireland or Scotland.”

Although Ysbryd claims Brechfa is his best black metal project, Welsh Mythical Darkness is arguably his strongest because it’s the most idyllic representation of the traits he wishes to present. He readily admits that black metal’s “purposeful removal of human personality from the musician and use of pseudonym and make up or obscuring of the features as a means to let the music take centre stage” strikes a chord with him, but Welsh Mythical Darkness fascinates because traces of the person behind the act fight to reveal themselves on it. 

Black metal often distances itself from the individual to portray an idealized self; an aggrandized embodiment of a host of themes Metal Archives lists. One can dip into it or let it consume them, which is what Ysybrd does: “I find it’s a good outlet for my frustrations with modern life and a longing to return to ‘the old ways,’ which I’m fully aware not only don’t exist, but would be nothing like I’m imagining them. Nevertheless, I still find living in this world I’m creating through the music preferable to reality most of the time, so I spend as much time there as life allows.”

The endearment with Welsh Mythical Darkness’ titular concepts cloaks someone finding solace in their composite interests. Ysbryd slithers through the asthenosphere connecting regional history, mysticism, and class, with a hint of isolation that gives black metal its raison d’etre. Without attempting to be one, it’s an extremely close-to-the-heart record. Ysbryd agrees: “Making dungeon synth and black metal is the closest I’ve gotten to expressing how I feel internally through music, so I imagine I’ll continue until I die or can’t play anymore. “

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Welsh Mythical Darkness is available now.

Listen To “My Girlfriend’s Girlfriend” HERE: https://youtu.be/4ZNjFrE2pmQ

Chile’s heavy ensemble ATER present their interpretation of TYPE O NEGATIVE’s “My Girlfriend’s Girlfriend”, released via Torque Records. The band’s shadowy sound combines extreme metal and gothic rock, seeing ATER unveil a dark and heavy take on TYPE O NEGATIVE’s iconic track. 

ATER’s frontman Fernando Bühring comments: “I was introduced to Type O Negative by my older brother back when I was in my early teens. I was immediately hooked, and they have been at the top of my favorite bands list and are great inspiration for me and the music I write with ATER to this day.

Making our own rendition of ‘My Girlfriend’s Girlfriend’ was a lot of fun. The whole process took just a couple of days. I demo’d the whole thing during the course of a morning. Vincent laid down the drums quickly and we kept the rest from the demo. We also invited fellow guitar player and producer Tebby Muñoz to do the solo on this one. Personally I’m not into making covers much at all, but when I realized October Rust was turning 30, I wanted to celebrate with making a tribute to it. We will probably never do a cover again, so here ya go!.”

About ATER:
Based out of Santiago, Chile, extreme metal act ATER unveiled their debut album Eternal Gray Spiral in 2018 through Insania Recordings. The band’s sophomore album Somber arrived in 2024 via Torque Records, with 2025 seeing the release of singles, “The Fall” and “Venus”. 

Describing their sound as Dark Metal or Extreme Dark Metal, ATER‘s music is constructed primarily from extreme metal and gothic rock. Their production feels both modern and organic, with composer Fernando building songs around the guitars and bass often leading to centered bass parts in the mix. Thematically, ATER‘s music is introspective, open and honest in its emotional delivery. ATER explore gothic romanticism with an updated, modern perspective. 

ATER have traversed across global stages including European tours: Epic Prophecy Europe 2024 (BATUSHKA, VLTIMAS, GOD DETHRONED, ATER), Beyond The Black Tour Europe 2025 (VENOM INC, KRISIUN, HATE, ATER), and Morbidfest Tour Europe 2025 (POSSESSED, TERRORIZER, SUICIDAL ANGELS, NIGHTFALL, ATER). In 2025 alone, ATER performed an impressive 110 shows including national support for CRADLE OF FILTH in Santiago, Chile, and Turock Festival, Essen, Germany. 

ATER:
Fernando Bühring
Vincent Zbinden
Christian Vallejos
Javier Ciudad

Credits:
Bass, Guitars, Synths and Vocals performed by Fernando Bühring.

Drums performed by Vincent Zbinden.

Guitar Solo by Tebby Muñoz.

Arranged, Recorded, Mixed and Mastered by Fernando Bühring.

Artwork by Aldo Rojas.

Connect With ATER:
Official Website: https://ater.cl/

Bandcamp: https://aterdark.bandcamp.com/track/venus

E-Shop: https://torquerecords.cl/

Facebook: https://www.facebook.com/atermetal

Instagram: https://www.instagram.com/ater_dark/

Spotify: https://open.spotify.com/artist/1HpPzWF2E6G8KfD5pOM6La?

Source: C Squared Music

Posted on August 18th 2026, 1:00pm

The Iron Roses are one of the most politically outspoken punk bands today.  This is cemented with their newest album, Molotov Nights, where they leave no opinion suppressed and every opinion they do have is screamed from their gut. 

 “Molotov Nights” is an album that shares the same beliefs that punk bands have but don’t want to write, featuring multiple songs that address genocide (Dead Eyes), capitalism (All American), ICE (The Good News), the fetishizing of women (Body Count) and other topics that validate their anger.  The powerful vocals of Natasha Grey (she/her) and Becky Fontaine (she/her) reaffirm the sincerity of the lyrics and convey a genuine cry of anger that makes you just as pissed as they are.

When discussing the album on their Bandcamp, they open up with the following: “Ever since November 2024 we’ve heard the same tired bullshit everywhere — ‘At least we’ll get some good music out of this.’ Fuck that. We’d much rather a world filled with equality, food, housing, health care, education, peace, and love”.  What makes this an important quote when discussing this album specifically is that it reaffirms that this is not an album that’s really meant to be enjoyed.

While you can enjoy it, and you should, “Molotov Nights” serves primarily as a wake-up call.  It is 25 minutes of telling the listener “Hey, this is what’s going on in the world right now”, in the hopes that others will get just as angry and call for a change. 

As far as sound goes, while it generally remains a melodic punk rock album, “The Good News” starts off as a folk tune, and “All American” also turns into ska punk.  Overall, they focus much more on the message of their lyrics rather than going into a lot of sound experimenting.

I was lucky to catch them live earlier this year and can confirm that their energy on this album matches with their energy on stage.  As a trans femme-fronted band, they have a lot to be angry about.  If you feel a part of a minority, or just as angry with the world and don’t know why, I would highly recommend that you give “Molotov Nights” a listen.

Favorite songs: “Dead Eyes”; “All American”; “Look Away”

“Molotov Nights” by The Iron Roses is available now on Bandcamp.