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(Andy Synn dedicates his first post-NWTF review to the Post/Sludge/Doom stylings of We Follow the Earth) Right now, in case you didn’t know. we’re in what’s called the “post Northwest Terror Fest slump”… which is where we’re largely reliant on DGR’s forethought in producing a bunch of reviews to cover for the fact that he […]
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Parent Teacher is the musical endeavor of NYC-based Richard Spitzer. A few weeks back, he announced his new album Tricks For Meds with the release of exceptionally titled lead single “Timeline Rabies.” Today he’s got another new track, “Narcissists,” which allows me a fresh opportunity to extend an endorsement. Tricks For Meds is a great…
The post Parent Teacher Announce New Album <em>Tricks For Meds</em>: Hear “Narcissists” & “Timeline Rabies” appeared first on Stereogum.
Korn guitarist James “Munky” Shaffer gave an update on the band’s long-awaited follow-up to 2022’s Requiem in a new interview with Igor Miranda of Rolling Stone Brasil — and the short version is: it’s taking a while, and it’s intentional.
“It’s taking a fucking long time,” Shaffer said (transcribed by Blabbermouth). “We’ve gone through… I swear to God, we’ve written probably almost 40 songs, and gone through ’em, and rewrote ’em, and got rid of ’em, and tore ’em apart, and rebuilt ’em. And it’s been quite a long process because we’re very critical about what we do now. We’re very particular, because we wanna keep our original sound. You can’t really get away from that — when we start playing, it sounds like Korn, especially with all five of us.”
“And Ra [current Korn bassist Roberto Díaz] has actually been such a great addition to bringing a lot of energy in the rhythm section. And Ray [Luzier, Korn drummer] and him play really well together. And it’s fun to watch those guys work out parts, because they do some stuff that I wouldn’t think of. That’s been a big part of this writing process, is those two working together, because they’ve never worked together on a record,” Shaffer continued. “Obviously, they’ve worked together on the older songs and stuff. But I think that working on the older songs, those two, learning the rhythm parts, has really given some insight to what is on the back catalog, and they’ve brought a similar vibe into the newer stuff that we’ve written, and that is exciting.”
As for the direction: “We don’t wanna release something mediocre,” Shaffer said. “As an artist, you don’t wanna paint the same picture over and over again. You wanna add some flavor, add some color, add something new so it feels fresh, so the listeners still get a classic sound, but with fresh takes on things. So, it still sounds like Korn, for sure. There’s no heavy electronics, or you’re not gonna get anything too far out of left field. It’s still very guitar-driven and bass heavy.”
The extended writing timeline traces back to the pandemic and the touring explosion that followed. After COVID killed the planned The Nothing tour cycle, Korn went into lockdown mode and recorded Requiem — then spent the years since making up for lost road time. “We had quite an extensive touring schedule, especially after COVID,” Shaffer explained. “We were excited to get back out on the road… I think it’s just been a lot of touring and us taking our time to release something that… We didn’t wanna release something mediocre. I think we took a page out of the book of Metallica on that.”
Shaffer also addressed the prolonged absence of original bassist Reginald “Fieldy” Arvizu, who stepped away from touring in June 2021. “On the last couple of records, he was kind of checked out, and trying to get him engaged was a little bit difficult,” Munky said. “He would always just kind of leave… He just kind of lost his ambition, I guess. But it’s okay. It happens. Everything goes in cycles. We’re definitely not mad at him or anything. We want him to be happy, and it didn’t really feel like he was happy being a working musician at the time. So it was a mutual sort of… I still use the word ‘hiatus’. I think he needed a break.”
“We work our asses off. Even when we’re not touring, we’re writing music or we’re working on things,” Shaffer added. “I just don’t feel like he had it at the time, or just had a lot of other personal stuff happening too. He wasn’t happy. It was obvious. And at the end of the day, he’s our brother, and we want him to be happy.”
On Fieldy‘s current state: “I’ve heard he’s doing well. I haven’t spoke to him personally in probably a few months. But, yeah, I see his kids. His son is playing bass and he’s doing a band, and I think Fieldy‘s been helping with that. He looks like he’s doing better, honestly, which makes us all feel great.”
In the meantime, Korn surfaced a new track — “Reward The Scars,” released in April as part of the Diablo IV: Lord of Hatred expansion pack soundtrack and debuted live at Sick New World festival in Las Vegas. The song marks their first new music since Requiem‘s release in February 2022, which entered Billboard‘s Hard Rock Albums chart at No. 1. The full new album remains in progress.
The post KORN’s MUNKY SHAFFER on New Record: “It’s Still Very Guitar Driven and Bass Heavy” appeared first on Sonic Perspectives.
In the ’90s and ’00s, the Denver-based band 16 Horsepower perfected their own grandly gothic form of country-rock. They were obsessed with religion and apocalypse, and frontman David Eugene Edwards had a leathery gravitas — like a version of Nick Cave who was actually American, rather than just one that was obsessed with American iconography. 16 Horsepower broke up in 2005, and Edwards kept going with his side project Wovenhand. Next week, he’ll release Mercurial Silence, his second solo album. But now, 16 Horsepower are back together, playing shows.
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Sixx played in the bands Sister and London before forming Mötley Crüe in 1981 with drummer Tommy Lee. Guitarist Mick Mars and singer Vince Neil soon completed the lineup. The group quickly became one of the most talked-about acts on the Sunset Strip because of their aggressive image, loud stage shows, and relentless promotion of their own music. Mötley Crüe released Too Fast for Love in 1981 through their own Leathür Records label before Elektra Records later reissued it. Albums such as Shout at the Devil, Theatre of Pain, Girls, Girls, Girls, and Dr. Feelgood turned the band into international
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Fimbul Winter preent “Crowned In Ash,” their latest release following the 2025 debut EP What Once Was.
With a line-up formed of three previous members of Amon Amarth, and completed with Clint Williams, Fimbul Winter embark on greater exploration and development of melodic death metal.
“Crowned In Ash” emerges from the flames in an enticing soundscape infused with intriguing melodic leads. Driving rhythms take precedence pushing the track’s momentum forward while guitar leads continue to entwine across the instrumental layers and Clint Williams’ monstrous vocals are unleashed above.
An authoritative force prevails across the choruses in “Crowned In Ash”. The fast-pace lessens its grip to allow the progressions and vocal performance the space to land with thunderous impact. Fimbul Winter ensure the track’s main riff remains compelling and constant throughout, while deploying enveloping, shifting dynamics throughout the musical arrangement.
Drums and guitars on “Crowned In Ash” were recorded at Studio Fluff Vasteras with engineer Andreas Moren, while vocals were recorded at Witching Hour Audio and engineered by Shaun Farrugia. Risa Andersson contributed bass performance on the single, and mixing and mastering was completed by Marko Tervonen at Studio-MT. The cover artwork for “Crowned in Ash” was created by Katarzyna Urbanek.
FIMBUL WINTER Is:
Niko Kaukinen – Drums
Fredrik Andersson – Guitars
Anders Biazzi – Guitars
Clint Williams – Vocals
The post Track Premiere: Fimbul Winter – “Crowned In Ash” appeared first on Decibel Magazine.
L-R – Max Lussier, Jesse Brint, Mallika Sundaramurthy, Tommy McKinnon, Eric Burnet, Jeffrey Mac Dermott
Centred around guitarist Chase Fraser (Continuum, ex‑Decrepit Birth, ex‑Animosity) and drummer Tommy McKinnon (Derelict, Akurion, ex‑Neuraxis, ex‑Augury) and featuring guest appearance contributions from members of Gross Misconduct, Emasculator, Samskaras, Hollow and Monster Factory, the Conflux Collective is a true collective that puts ‘90s lensed, technical death metal in its creative crosshairs. The band’s debut, In the Wake of Saturn — which follows 2016’s The Inception EP and had been in the works for so long no one was able to nail down for me how long it had actually been in the works) is set for release on June 19th and today they’re taking advantage oif the non-stop spinning of as the promotional wheel to present the lead single “Reincarnation” in visualiser/lyric video form. Says the band about the album: “through the eight songs, one will be revolted, repulsed, empowered and inspired. It tells a story of loss, but also renewal. Songs are not structured in the traditional ‘pop rock’ verse/chorus fashion, yet there are certainly strong parts that sound like choruses. Expect climaxes, heavy grooves, blast beats, solos… All with the vocals leading the way between the different sections. [Vocalist] Jesse [Brint] said it best: ‘… it’s a journey.’” Not bad for a band “born from a chance reunion in a Montreal fast‑food joint after a King Diamond show.”
Photo Credits: Joe Diaz, Derek Carr of Visionsinpixels, Mat Barbeau, Tania Hébert
The post Track Premiere: Getting Cosmic with The Conflux Collective’s “In the Wake of Saturn” appeared first on Decibel Magazine.
Canadian roots, rock, and soul band Bywater Call has announced the release of its new single “No One Else” along with details for the band’s upcoming fourth studio album Broken Souvenirs, which is set for release on July 29.
The new single is available now on streaming platforms, while the official music video has also been released. According to the band, “No One Else” was inspired by artists including Black Pumas, Alabama Shakes, Baby Huey, and Rage Against the Machine. The track blends retro soul influences with layered keyboards, horns, and a driving rhythm section.
“This song is a reflection of how, in the current world of manipulation and misinformation, we continue to allow deceitfulness to cause harm,” said Bywater Call guitarist Dave Barnes. “In the end, we have the strength within to defeat evil and take back our own power. If we don’t, there is no one else to blame but ourselves.”
The song was recorded at Palace Studios in Toronto, mixed by Patric McGroarty, and mastered by Kristian Montano of Montano Mastering.
The music video for “No One Else” was choreographed and directed by Chelsea Preston and filmed by Badee Mirkham. The band said the video uses fire imagery and paper masks as symbols reflecting political and cultural manipulation.
Bywater Call said the new album Broken Souvenirs features 11 original songs and continues the group’s approach of blending soul, blues, rock, R&B, and roots influences. The album draws inspiration from artists including Amy Winehouse, Shakey Graves, and The Black Crowes.
The band has continued to build momentum internationally in recent years. Earlier in 2026, Bywater Call received its third nomination for International Act of the Year at the UK Blues Awards following previous nominations in 2024 and 2025.
Bywater Call will support the release of Broken Souvenirs with an extensive run of tour dates across Europe, the United States, Canada, and the United Kingdom.
2026 TOUR DATES
May 14 – Dudenhofen, Germany – Kulturverein Dudenhofen
May 15 – Rimsting, Germany – Feuerwehrhaus
May 16 – Affalter, Germany – Zur Linde
May 17 – Regensburg, Germany – VAZ Pfarrheim
May 19 – Norderstedt, Germany – Music Star
May 20 – Bremen, Germany – Meisenfrei
May 21 – Werchter, Belgium – Blue Rooster
May 22 – Weert, Netherlands – De Bosuil
May 23 – Unna, Germany – Lindenbrauerei
May 24 – Raalte, Netherlands – Ribs & Blues Festival
May 27 – Verviers, Belgium – Spirit of 66
May 28 – Krefeld, Germany – Kulturrampe
May 29 – Haarlem, Netherlands – Patronaat
May 30 – Tilburg, Netherlands – Heyhoef
May 31 – Aalten, Netherlands – LSA Music
June 2 – Arnstadt, Germany – Kulisse
June 3 – Aschaffenburg, Germany – Colos-Saal
June 4 – Köln, Germany – Die Kantine / Freideck
June 5 – Luxemburg, Luxemburg – Blues Club
June 6 – Riotord, France – Climax Club Legend
June 7 – Le Thor, France – Sonograf
June 9 – Chambery, France – Brin de Zinc
June 13 – Penmarch, France – God Save The Kouign Festival
June 16 – Tenerife, Grand Canaria – Teatro Leal
June 17 – Las Palmas, Grand Canaria – Teatro Guiniguada
June 27 – Winter Park, Colorado – Blues From the Top
June 30 – Ridgefield, Connecticut – CHIRP 2026
July 1 – Londonderry, New Hampshire – Concerts on the Common
July 2 – Saratoga Springs, New York – Parting Glass
July 3 – Hawley, Pennsylvania – Harmony in the Woods
July 7 – Gravenhurst, Ontario – Peter’s Players
July 10 – Sarnia, Ontario – Rustr
July 11 – Kincardine, Ontario – Lighthouse Blues Festival
July 12 – Sherman, New York – Pine Junction
July 13 – Warrendale, Pennsylvania – Jergel’s
July 14 – Columbia, Maryland – Collective Encore
July 15 – Ardmore, Pennsylvania – Ardmore Hall
July 17 – Moscow, Idaho – Rendezvous in the Park
July 18 – Nine Mile Falls, Washington – Live at Andres
July 19 – Winthrop, Washington – Winthrop Rhythm and Blues Festival
July 25 – Waterville, Ohio – Blues, Brews & Brats
August 13 – Saranac Lake, New York – Waterhole
August 14 – Putney, Vermont – Bandwagon Series
August 17 – Lima, New York – Fanatics
August 28 – Paola, Kansas – Paola Roots Festival
September 16 – Fredericton, New Brunswick – Harvest Music Festival
September 25 – Palmer Rapids, Ontario – Highlands Festival
2027 TOUR DATES
January 24 – Bonn, Germany – Harmonie
January 27 – Faversham, United Kingdom – The Old Brewery Store
January 28 – Southampton, United Kingdom – The Brook
January 30 – Exeter, United Kingdom – Phoenix
January 31 – Sheffield, United Kingdom – Yellow Arch
February 2 – York, United Kingdom – Crescent
February 3 – Glasgow, United Kingdom – Oran Mor
February 4 – Manchester, United Kingdom – Band on the Wall
February 5 – London, United Kingdom – 100 Club
February 6 – Norwich, United Kingdom – Waterfront
April 10 – Tampa Bay, Florida – Tampa Bay Blues Festival
April 11 – Miramar Beach, Florida – Soundwave Festival
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