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Extending the acoustic anniversary run into 2027

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A museum, a major blood drive and more! Life Burns Faster with Metallica in Sin City starting this October. Continue reading…

We here at Stereogum are big fans of Victoryland, the partnership of singer-songwriter Julian McCamman (ex-Blood) and producer Dan Howard (also of the special new band Billboard Style). Also fans of Victoryland: Dead Oceans, one of the biggest and best labels in indie music, which has just added the band to their roster.

The post Victoryland – “The Ugliest Girl On The Beach” appeared first on Stereogum.

(Andy Synn prepares to worship at the altar of Spirit Possession, whose new album is out on Friday) Allow me to begin this review with a semi-spoiler, if I may? Because, if nothing changes between now and December, there’s a very high likelihood that Spirit Possession‘s third album will be taking one of the highly-coveted slots in this […]

The post SPIRIT POSSESSION – CATHEDRAL SPEECH appeared first on NO CLEAN SINGING.

Space is very metal. So I’ve always been surprised that it’s a relatively underdeveloped topic across most styles. Bands like Enshine, of course, make it all the rage every now and again, but it’s not something I see often. Orbital Soul System (formerly Orbital Dawn) is working to correct this perspective. The one-man solo project of one U-Gene (Rakoth) from Russia is now releasing its third full-length album, Nightwing. Boasting a tag of blackened progressive death metal and a clear cosmic theme, Orbital Soul System feels like it’s reaching for the stars with its latest—it’s certainly an ambitious moniker for a single artist. They say to shoot for the moon, because even if you miss, you’ll land among the stars. Let’s see where Nightwing lands.

Nightwing lands on the “death” side of its lengthy genre moniker, leaning on heavy riffs and harsh vocals and aiming to be a heavy-hitting cosmic spectacle. Space-themed synths hold up the melodic side, building spacious and appropriately cool atmospheres to give Orbital Soul System a distinct symphonic edge. Songs like “Enclosure” emulate Thy Catafalque, with heavy organ/synth use offsetting blackened death fury, and reaching for epic heights. Other tracks, like “The Wanderer,” take a slower and more deliberate approach, building on leads and melodies to create lengthy, intricate, and more progressive experiences. Throughout, U-Gene’s intentional, annunciated growls and whispered cleans are a frequent companion, but most of Nightwing is a feast for keys and guitars.

The cosmic theme of Nightwing, on the other hand, is a constant companion, so what you think about that theme will strongly impact how you enjoy Orbital Soul System. “The Last One,” for example, is the first break we get from the metal barrage, dialing up elements of electronica and introducing a heavy autotune to distort the lyrics into an alien, computer tongue. It works for the aesthetic, of course, but the delivery is, unsurprisingly, passionless. In truth, the growls have a similar issue—so well enunciated and intentional that they seem to exist more for the storytelling than to impart feeling—but it all “fits” an album of space-themed progressive death metal. “Into the Abyss” treads the line better, but it is interesting to notice that the main theme of the song involves three synth layers (as best as I can tell) and the only one adding melody is the simplest one, a basic-yet-effective tune that acts against the seriousness of the metal to give the song some bounce and character. I like it, but I can’t help but wonder if Orbital Soul System has traded some of its passion for music for its cosmic theme.

While I’m on the fence about the theme, I have a clearer issue with Nightwing that holds me back from really appreciating it, and it lies twofold in the album’s production. For one thing, the drums do not sound good, to the point that I wouldn’t be surprised to learn they aren’t real. They click and tap, but don’t add heft, and this is probably part of the reason I find Nightwing a less-than-impassioned listen. They sound the same in “Savage,” an instrumental, largely electric interlude track, as in the title track, my favorite song on Nightwing, a blackened epic of sweeping proportions, melodic and impressive—but not strong. This then exacerbates my next observation: nearly every song feels at least two minutes too long, including the three-minute opener. Most songs sit in the 7–9-minute range, but I think only one justifies the length (“Enclosure”). There are a ton of ideas in Nightwing, but 59 minutes is a long time for only nine tracks, too many of which spend time setting a mood that’s long been established.

Like Nightwing itself, I want to end this review on a positive note. Closer “42” is one of the best songs Orbital Soul System offers here, with a strong main riff, uplifting swells from the synths, and the album’s only guitar solo, which does a lot to lift the energy of the song. It’s a good indication that Orbital Soul System has a good instinct for its music and theme. For me, however, the choices made after the guitars are put away have made this an album I likely won’t return as often as even I’d like.

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Rating: 2.5/5.0
DR: 5 | Format Reviewed: 319 kb/s mp3
Label: Self release
Websites: orbitalsoulsystem.bandcamp.com | facebook.com/Orbitalsoulsystemofficial
Releases Worldwide: October 1st, 2026

The post Orbital Soul System – Nightwing Review appeared first on Angry Metal Guy.

FOR IMMEDIATE RELEASE
CATHARIA TO UNLEASH NEW SINGLE “WINTER SOLSTICE” AHEAD OF NOVEMBER 2026 ALBUM PORTRAIT OF ANTIQUITY

Melodic black metal force returns with a darker, more expansive sound featuring new permanent vocalist John Harrah and guest vocalist Kassandra Chandler of Divine Martyr

For Fans Of: Dissection, Immortal, Satyricon
CATHARIA is preparing to unleash its new single “Winter Solstice” 10/02/26, offering the first taste of the band’s upcoming full-length album, Portrait of Antiquity , due for release in November 2026.
The new single features John Harrah , Catharia’s new permanent vocalist, alongside special guest vocalist Kassandra Chandler of Divine Martyr , adding another dimension to the band’s evolving sound.
Formed in 2018, Catharia has spent the years since its inception developing a sound rooted in the cold atmosphere and ferocity of black metal while incorporating the crushing weight of death metal and a strong emphasis on melody. With Portrait of Antiquity , the band expands that foundation into a darker, more melodic and symphonic direction.
According to the band:


“More melodic and symphonic then previous releases.”


“Winter Solstice” serves as the first preview of that expanded musical approach, combining Catharia’s established aggression and darkness with a greater emphasis on atmosphere, melody and symphonic elements.
The upcoming album Portrait of Antiquity continues to push the band’s melodic black metal and blackened death metal foundation into broader and more expansive territory. Drawing influence from the atmospheric intensity of classic melodic black metal and the relentless force of blackened death metal, Catharia aims to balance sweeping musical passages with uncompromising heaviness.
Portrait of Antiquity is scheduled for release in November 2026 . While Catharia is currently signed with Rockshots , the album will be released independently.
The album was produced and recorded with Jackson Ward at Strata Recording Studio , bringing a focused production approach to Catharia’s evolving sound.
With the arrival of “Winter Solstice,” Catharia begins the next chapter of its evolution, introducing a new permanent vocalist, welcoming a guest vocalist for the first single, and unveiling the darker and more expansive direction of Portrait of Antiquity .
Portrait of Antiquity

Artist: Catharia
Album: Portrait of Antiquity
First Single: “Winter Solstice”
Format: Full-Length Album
Genre: Melodic Black Metal / Blackened Death Metal
Single Release: October 2nd, 2026
Album Release: November 2026
Release: Independent
Label: Rockshots
Production: Jackson Ward, Strata Recording Studio
Permanent Vocals: John Harrah
Guest Vocals on “Winter Solstice”: Kassandra Chandler, Divine Martyr
For Fans Of: Dissection, Immortal, Satyricon


Connect:
https://catharia.com/
Contact:
Matt Powell
powellmatt52@yahoo.com

The fourth edition of Canadian festival Prepare the Ground is slated for June 4-6 in Toronto, Ontario this year and the initial lineup is looking stacked. Agalloch will play their first Canadian performance in over a decade, joined by the also-reunited Subrosa. Elsewhere, Primitive Man will perform 2025’s Observance in its entirety, Lamp of Murmuur play the country for the first time and KEN mode have a secretive performance listed on the bill.

From the press release, “Prepare the Ground is a three day independent & community based arts and music festival taking over two full blocks of downtown Toronto. Containing an outdoor arts market, four music venues (Trinity St. Paul’s Church, Lee’s Palace, the Cave, Transac) and a dedicated theatre for movie scores amongst so much more. The 2026 festival sold out in advance.”

Three day passes are on sale now.

Full announced lineup (more to come):

Agalloch
Bosse-de-Nage
Dark Castle
Franklin
Junius
KEN mode (performing ???)
Lamp of Murmuur
Malfet
Primitive Man (performing Observance)
Subrosa
Thrä

The post Prepare the Ground Announces Agalloch, SubRosa, Primitive Man and More for Initial 2027 Lineup appeared first on Decibel Magazine.

Oh, fuck yeah. I’ve been in something of a low place recently, what with my brief foray into Satanism with the new Archgoat a few weeks ago, and my offputtingly enjoyable experience listening to Anthrax during my last review, so I feel like I need a reset.

Luckily, my editor over at MetalSucks decided to not be an insufferable shit for once in her worthless life, and gave me the green light to introduce a little wholesomeness to you wannabe purveyors of the Dark Arts.

That’s right, motherfucker, get ready to be bukkaked by the Love of Christ.

Here’s my review of the new Stryper, and if you don’t like it you’re more than welcome to get mouthfucked by Lucifer for all eternity. See if I care.

Track 1: Throne of Thorns

I feel bad for being so harsh in that intro. Now, with that being said, will I admit to being wrong? Fuck no.

Track 2: Here in Your Heart

Oh, hell yeah. That opening riff belongs in the goddamn Library of Congress. Speaking of which, this shit needs to be mandatory in public schools, like prayer. I’ll save that soapbox speech for another time, but you know it’s coming.

Track 3: Falling

You know what? Fuck it. They kicked Jesus out of our public schools, and then what happened? Kids are using litterboxes instead of bathrooms, if Fox News is telling the truth, and I’ve never known them to embellish anything or have any sort of agenda. That bullshit wouldn’t be happening if they were playing Stryper during the morning announcements, I’ll tell you that much.

Track 4: I’m Alright (I’m Okay)

I love this and, more importantly, so does God.

Track 5: Waiting For You

This is inspiring me to haul my old Gibson out of storage. I know it drives my old lady Doreen fucking crazy, but see if I give a toss. She can bitch all she wants. It won’t stop me from rockin’.

Track 6: Carry the Flame

Wait, nevermind. She’s in the living room watching Virgin River and I don’t want to bother her.

Track 7: Hollywood

7 tracks in, and these guys haven’t let up one bit. Is Stryper in the Rock and Roll Hall of Fame, or do I need to go off on another Reddit rant? I swear, it hasn’t been the same ever since they let Missy Elliott in.

Track 8: Beautifully Broken

Big surprise: another stellar tune. Praise the Lord!

Track 9: Ashes to Roses

I don’t think I’m exaggerating when I say this is the best album any band has ever released, ever.

Track 10: Alone Again

It’s heart-wrenching that there’s only one song after this. They’re really making sure it closes out with a bang, though.

Track 11: Shadowbreaker

Good thing you can’t see my eyes welling with tears over how much of a transformative experience listening to this album has been for me. I’m going right back to Track 1 after I finish this review for you freaks.

There you have it. 5/5, of course. It feels good that I’m finally using my incredible music-reviewing skills to spread the Gospel. Love you, Jesus.

As for the rest of you degenerate fucks, see you next week.

The post DISGRUNTLED DAD REVIEWS With DAVE MUSTCOMPLAIN: STRYPER – THRONE of THORNS appeared first on MetalSucks.

Puscifer and The Cult will support

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California deathgrinders Deathgrave recently returned with the third album, Hell Is Evil, and Decibel could not get enough of it. We were so smitten, in fact, that we asked guitarist and recording wiz Greg Wilkinson (Autopsy, Brainoil, Earhammer Studio), to rework a version of album standout “Hard to Swallow” — featuring guest vocals from one Christopher Reifert — in his studio lab. He emerged with the even sicker “Hard to Swallow (Redux ft. Chris Reifert),” which is now the latest entry on the never ending Decibel Flexi Series!

The only way you can score a copy for yourself is to sign up for a deluxe Decibel subscription by Wednesday, September 30 by noon ET. Blowing the opportunity would be a hard one to… well, you know.

The post DEATHGRAVE to Release Exclusive New Track, “Hard to Swallow (Redux ft. Chris Reifert),” via the Decibel Flexi Series! appeared first on Decibel Magazine.