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We'e got the return of Dogstar to the concert stage and two special Marilyn Manson anniversary shows among this week's concert and tour announcements. Continue reading…

“Shane was all naked bottomless humanity. Threatening to force us to ask ourselves if we were living deeply,

Posted on March 13th 2026, 11:49a.m.

The Black Strat was with him from 1970 until 2019, when it was one of more than 120 instruments he auctioned for charity

The black Fender Stratocaster, played by David Gilmour on six of the band’s albums including “The Dark Side of the Moon,” broke the record for the most expensive guitar sold at auction.

The DIY duo kamikaze has released their fifth single, “Drown,” offering a haunting preview of their upcoming debut

Arrows In Action have announced that they are going to be releasing a deluxe edition of their 2025 album ‘I Think I’ve Heard This Before’, and one of the new additions is out now.

That is ‘Stop Talking’, a neon-drenched, dancefloor-filling piece of pop-rock vibrance. A brilliantly funky blend of synths, beats and melodies, it feeds off the same confidence and colour that the original album expelled, whilst adding some extra licks of sass for good measure.

The band had this to say about the tune, stating, “‘Stop Talking’ is about how simple love can be when we silence our own anxiety and drop a discussion long enough to remember why you’re having it in the first place. Instead of stressing over how a relationship will last or fit others’ expectations and arbitrary rules, maybe just rewrite those rules?
 
Sonically, ‘Stop Talking’ is the culmination of many seemingly unrelated influences that is uniquely us. The bass riff and orchestral samples drive the almost cabaret-style verse, but the chorus still launches into hooky melodies and guitars over a fat dance beat.”

The deluxe edition of ‘I Think I’ve Heard This Before’ will be released on April 24 via Nettwerk. It can be pre-saved right here.

The band are set to support Boys Like Girls on tour across the US alongside iDKHOW. Here are all the dates.

MARCH

20 – SALT LAKE CITY The Union Event Center
21 – DENVER The Fillmore Auditorium
22 – OMAHA Steelhouse
24 – MINNEAPOLIS The Fillmore Minneapolis
25 – MILWAUKEE Landmark Credit Union Live
27 – CHICAGO Byline Bank Aragon Ballroom
28 – GRAND RAPIDS GLC Live at 20 Monroe
29 – NASHVILLE Ryman Auditorium
30 – CINCINATTI The Andrew J Brady Music Center

APRIL

01 – NORTHFIELD MGM Northfield Park
02 – MCKEES ROCK Roxian Theatre
03 – NEW YORK Brooklyn Paramount
06 – DETROIT The Fillmore
07 – BUFFALO Buffalo RiverWorks
09 – PHILADELPHIA The Met
10 – SILVER SPRING The Fillmore Silver Spring
11 – MONTCLAIR The Wellmont Theater
18 – RALEIGH The Ritz
20 – CHARLOTTE The Fillmore Charlotte
21 – ATLANTA Buckhead Theatre
22 – TAMPA Seminole Hard Rock Hotel & Casino
23 – ORLANDO Hard Rock Live Orlando
5 – HOUSTON House of Blues
26 – SAN ANTONIO Boeing Center at Tech Port
29 – TEMPE Marquee Theatre

MAY

01 – ANAHEIM House of Blues
02 – LAS VEGAS Brooklyn Bowl
03 – ANAHEIM House of Blues
05 – WHEATLAND Hard Rock Live
07 – PORTLAND Roseland Theater
08 – SPOKANE Knitting Factory
09 – GARDEN CITY Revolution Concert House
10 – SEATTLE The Moore Theatre

The post Arrows In Action Share Slick New Track ‘Stop Talking’ appeared first on Rock Sound.

Danish hard rock band Black Oak County step into a different kind of intensity on their new single ‘Starlight‘. Taken from the upcoming album ‘Misprint‘ (out April 10th, 2026), the song is a warm, heart-on-sleeve ballad about the quiet cost of life on the road – and the people you keep thinking about when the […]

The post Black Oak County Release New Single/Video ‘Starlight’ appeared first on ROCKPOSER DOT COM!.

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My appreciation for Lamb of God didn’t really take off until a very close friend of mine had me watch Killadelphia for the first time.¹ Having survived more than a few metal battlefields of my own, I found the “Black Label” wall of death footage brutally fun.² Additionally, watching LoG perform those songs live, I found the music clicked with me in a way it hadn’t before, which led me to return to those first three studio albums with renewed vigor and salivating over the upcoming release of Sacrament. Well, twenty years have passed since then,³ a span marked by no small amount of turbulence for the band, both inside and outside the recording studio, my own attention and interest in their work wavering as well. And since Saunders has so graciously ceded his seniority this Tyme around, you’re getting not just my crappy pun, but my two cents on Lamb of God’s tenth outing, Into Oblivion.

It’s not often that commercially thriving bands return from flights of progressive exploration to successfully tap back into their foundational roots. Yet, since the inconsistent VII: Sturm und Drang, Lamb of God seem focused on recapturing some of that lightning in the bottle from their earliest efforts—every step from 2020’s hopeful Lamb of God to 2022’s crunchy and visceral Omens,⁴ has led the Richmond ragers here, Into Oblivion. Operating musically in a space free from the confines of agendas or trends, LoG are writing songs for no one but themselves. Though lyrically no less acerbic, Into Oblivion serves as Blythe’s commentary on the continued erosion of the social contract here in the States. Mark Morton’s and Willie Adler’s signature guitar sound greets us at the door, the mix of chugs, spindly leads, and technical riffs of the opening title track a good launch point for the rest of the album. Which immediately transitions to “Parasocial Christ,” a thrashy barn burner that is one of the best songs Lamb of God have written in a decade and features one of Blythe’s most visceral performances, who recorded all his vocals at the legendary Total Access studio in Redondo Beach.⁵

It became increasingly evident that Lamb of God wrote Into Oblivion for the stage. While listening, I could vividly see the impending whiplash under seizure-inducing strobes that blister fests like “Parasocial Christ” and “St. Catherine’s Wheel” will cause just as clearly as I envisioned the swarms of boot-stomping brutality in pits across the country incited by the chugging, bruising grooves of “The Killing Floor” and “Blunt Force Blues.” Much of Into Oblivion should sate long-time fans yearning for days of yore, and settle the argument that the rhythm section anchored by Art Cruz would suffer from Chris Adler’s departure. Lamb of God has also found a way to inject a satisfying amount of experimentation into the strict confines of the album that works without turning things into an overwrought bloat-fest.

With a FAFO runtime of just over 39 minutes, Into Oblivion is the leanest a Lamb of God album has been since 2003’s As the Palaces Burn. Still, LoG managed to color some moments outside the lines. With an opening John Campbell bass line unexpectedly soaked in reverb, “Sepsis” is a monstrous sludgefest that trudges through verses where Blythe falls into a spoken but mostly shouted hybrid tone—an improvement over his mostly cringey straight spoken word—before dipping into a crushing riff that supports the chorus’s screams. This newfound bass-forward sludginess manifests again on “A Thousand Years,” before giving way to a sexy riff full of slithery Southern swagger. Here, Blythe layers some grungy cleans over spoken croaks that work within the song’s style. “El Vacìo” represents the largest departure, reaching near-ballad status as Blythe croons much-improved cleans over Morton and Adler’s moody guitar lines, then crawls into a dramatically tense chorus that gives me goosebumps every time I hear it.

Not everything about Into Oblivion works—for starters, the generic cover and new logo aren’t really hitting, and, while not terrible, I could live with or without the four-plus-minute “Bully.” Still, I wasn’t expecting to like Into Oblivion as much as I do. When I first popped its top, I joked in the AMG lunch room that it might threaten the safety counter. To which Steel immediately replied, ‘wut!’ While the safety counter is fine, Into Oblivion earned its score and might be the best thing Lamb of God has done since Wrath.

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Rating: 3.5/5.0
DR: n/a | Format Reviewed: Farging Stream
Label: Epic Records
Websites: LambofGod.com | Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

The post Lamb of God – Into Oblivion Review appeared first on Angry Metal Guy.