Another chunk of alien metal.

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The Colorado-based musician, composer, and found sound artist Matthew J. Sage is always getting up to something, and a Bandcamp notification from his account is always welcome. The latest arrived today, heralding Brush Flier, a new EP featuring unused material from last year’s album Tender / Wading. He’s calling these six tracks “daydreams from a different world.”

The post M. Sage Announces New EP <em>Brush Flier</em>: Hear Two Tracks appeared first on Stereogum.

Another hollowing experience.

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Crown Magnetar Unleash New Single and Video “Shut Up and Bleed” Ahead of Brutal New Album The Hollowing of Godflesh

Colorado deathcore wrecking crew Crown Magnetar are turning up the violence with their latest single and video, “Shut Up and Bleed,” the newest preview of their upcoming third full-length album, The Hollowing of Godflesh .
Set for release September 25, 2026 via Unique Leader Records , The Hollowing of Godflesh finds Crown Magnetar pushing their already ferocious brand of deathcore even further into the realms of brutal death metal and technical extremity.
Watch the official video for “Shut Up and Bleed” here:

Pre-order The Hollowing of Godflesh and stream the new single here:
http://orcd.co/THEHOLLOWINGOFGODFLESH
The new track delivers exactly what its title promises: a relentless, groove-heavy assault packed with crushing riffs, savage vocals, technical precision, and the kind of rhythmic punishment that Crown Magnetar have built their reputation on.
Vocalist Dan Tucker describes the song in appropriately horrifying terms:


“Corruption made permanent. A corrupt entity is condemned within its own form. Its hollow interior filled and hardened until flesh becomes a living tomb. Unable to move, unable to die, it remains conscious and imprisoned in the exact moment of agony. A being with no escape and no reprieve. Shut up and bleed.”


Crown Magnetar Sharpen the Blade

While Crown Magnetar have never been shy about delivering devastating deathcore, The Hollowing of Godflesh represents an evolution of the band’s sound rather than a simple repeat of what came before.
According to Tucker, the album is the most complete representation of Crown Magnetar to date.


“We pushed every aspect of our songwriting further without losing the intensity and rawness that defines the band.”


The goal was to take the elements listeners already expect from Crown Magnetar and push them beyond their previous limits, bringing in greater atmosphere, bigger moments, more aggression, and an even heavier emphasis on riffing.
A major part of that evolution comes from guitarist Rob Maramonte , whose arrival marks his recorded debut with Crown Magnetar.
Maramonte brings serious technical metal credentials to the equation, having previously spent time as a member of Fallujah and The Zenith Passage , while also performing live with Thy Art Is Murder and All Shall Perish .
His influence is immediately apparent in the increasingly technical edge of Crown Magnetar’s material.


“I’ve spent time in a lot of great bands, but this is the first time I’ve felt a gelling of my vision with that of the band,” says Maramonte. “Crown is based on relentless brutality and raw power, and it’s an honor they’ve allowed me to sharpen that into the most deadly version yet.”


That’s a pretty damn good mission statement for a death metal band.
Brutal Death Metal Roots Run Deep

Crown Magnetar aren’t simply following the modern deathcore blueprint. Their sound reaches further back into the brutal death metal that helped establish the genre’s heavier foundations.
The influence of bands such as Suffocation, Dying Fetus, Putridity, Brodequin, and Defeated Sanity can be heard throughout The Hollowing of Godflesh , alongside the deathcore attack of The Red Shore, I Declare War, and Thy Art Is Murder .
That combination gives Crown Magnetar a particularly nasty balance between technical riffing, crushing grooves, speed, and breakdown-driven brutality.
Tucker has pointed increasingly toward brutal death metal as a major part of his listening habits, and the influence is clearly bleeding into the band’s songwriting.
The result is a record that doesn’t abandon Crown Magnetar’s deathcore identity. Instead, it makes that identity considerably more dangerous.
Previously released tracks “Desecrate Infinite,” “Impaled Genesis,” and “Godkiller” have already offered listeners a glimpse of what’s coming.
“Desecrate Infinite” became the band’s biggest streaming track to date, surpassing even their massive 2025 Punishment EP. Live performances of “Desecrate Infinite” and “Impaled Genesis” also helped the band win over audiences while touring alongside acts including Archspire and Undeath.
Now “Shut Up and Bleed” adds another piece to the puzzle.
The album once again features producer and bassist Michael Sahm , who has been behind the desk for Crown Magnetar’s releases throughout the band’s career.
From their early releases The Prophet of Disgust and The Codex of Flesh through Alone In Death , Everything Bleeds , and Punishment , Crown Magnetar have steadily pushed their sound toward an increasingly maximalist form of deathcore.
That relentless progression has been accompanied by an equally relentless touring schedule.
The Road Gets Even More Brutal

Crown Magnetar will hit the road this fall for “The Sawed Off Suffering Tour,” a massive co-headlining run with To The Grave .
The tour kicks off September 17 in Chicago and runs through October 17 in Denver, with support from Face Yourself and a rotating lineup featuring I Declare War, Ameonna, Tracheotomy, Backbiter, and Squelching .
The Sawed Off Suffering Tour

September 17, 2026 – Chicago, IL @ Subterranean
September 18 – Detroit, MI @ Catacombs at The Sanctuary
September 19 – Cleveland, OH @ Mahall’s
September 20 – Pittsburgh, PA @ Preserving Underground
September 22 – Toronto, ON @ Lee’s Palace
September 23 – Montreal, QC @ Foufounes Électriques
September 24 – Hartford, CT @ Webster Underground
September 25 – Brooklyn, NY @ The Meadows
September 26 – Harrisburg, PA @ Capital City Music Hall
September 27 – Worcester, MA @ The Palladium
September 28 – Baltimore, MD @ Metro Gallery
September 30 – Asheville, NC @ Revival
October 1 – Nashville, TN @ The End
October 2 – Atlanta, GA @ The Masquerade (Purgatory)
October 3 – Jacksonville, FL @ The Albatross
October 4 – West Palm Beach, FL @ The Banyan Live
October 6 – Dallas, TX @ Club Dada
October 7 – Austin, TX @ Come and Take It Live
October 9 – Mesa, AZ @ Rosetta Room
October 10 – Los Angeles, CA @ Echoplex
October 11 – Roseville, CA @ Goldfield Trading Post
October 13 – Portland, OR @ The Hawthorne Theatre
October 14 – Seattle, WA @ El Corazon
October 16 – Salt Lake City, UT @ Soundwell
October 17 – Denver, CO @ HQ
Tickets are available here:
https://bnds.us/lv9ika
And Crown Magnetar aren’t slowing down after North America.
Crown Magnetar Head to Europe With Archspire

Following the North American run, Crown Magnetar will head across the Atlantic as part of the Archspire “European Vacation Tour,” joining Archspire, The Zenith Passage, and Analepsy for an extensive European and UK run.
The tour begins October 23 in Köln, Germany and continues through November 21 in Helsinki, Finland.
Archspire “European Vacation Tour”

October 23 – Köln, Germany @ Essigfabrik
October 24 – Nijmegen, Netherlands @ Doornroosje
October 26 – London, UK @ Electric Ballroom
October 27 – Manchester, UK @ Academy 2
October 28 – Glasgow, UK @ Slay
October 29 – Dublin, Ireland @ Academy
October 30 – Birmingham, UK @ Academy 2
October 31 – Bristol, UK @ Electric Bristol
November 2 – Antwerp, Belgium @ Kavka Zappa
November 3 – Paris, France @ La Machine du Moulin Rouge
November 5 – Madrid, Spain @ Revi Live
November 6 – Barcelona, Spain @ Salamandra
November 7 – Toulouse, France @ Bascala
November 8 – Aarau, Switzerland @ Kiff
November 9 – Milan, Italy @ Legend Club
November 10 – München, Germany @ Backstage
November 11 – Karlsruhe, Germany @ Substage
November 12 – Prague, Czechia @ Meet Factory
November 13 – Berlin, Germany @ Columbia Theater
November 14 – Jena, Germany @ F-Haus
November 16 – Hamburg, Germany @ Gruenspan
November 17 – Copenhagen, Denmark @ Vega
November 18 – Oslo, Norway @ John Dee
November 19 – Stockholm, Sweden @ Kollektivet Livet
November 21 – Helsinki, Finland @ Ääniwallä
Ten Years of Relentless Crown Magnetar

Crown Magnetar have been grinding away since 2016, and their growth has been anything but accidental.
The band landed a major opportunity in 2021 when they joined Lorna Shore on tour following the explosion of “To the Hellfire.” Since then, Crown Magnetar have shared stages with heavyweight acts including Dying Fetus, Archspire, Chelsea Grin, Signs of the Swarm, Aborted, Spite, and others.
Now, with The Hollowing of Godflesh , the band appears ready to take another substantial step forward.
Behind the kit on the road will be Matt Kilner , known for his work with Nithing and Iniquitous Deeds, as well as his previous performances with Gorgasm and Vitriol.
The current Crown Magnetar lineup is:
Dan Tucker – Vocals
Rob Maramonte – Guitar
Michael Sahm – Bass
Matt Kilner – Live Drums
With a new album on the way, a new guitarist bringing additional technical firepower, a brutal new single and video, and two major tours lined up, Crown Magnetar are entering another chapter with the same philosophy that has carried them this far:
Make it heavier. Make it faster. Make it hurt.
The Hollowing of Godflesh arrives September 25, 2026 via Unique Leader Records .
Listen to Crown Magnetar

Instagram: https://www.instagram.com/crownmagnetar
X: https://x.com/crownmagnetar
Facebook: https://www.facebook.com/crownmagnetar
YouTube: https://www.youtube.com/@crownmagnetar
Spotify: https://open.spotify.com/artist/0DlST2L7efoM5Lb0uxG3Tx

Photo Credit: Dylan Gould

Things happen at rock ‘n’ roll shows. Objects go flying. Ideally, those flying objects don’t injure anyone. Yoyoyoshie, guitarist for the chaotic Japanese punk band Otoboke Beaver, apparently has a history of tossing her instrument into the audience without accidentally injuring anyone, but a recent show at Osaka’s Umeda Club Quattro did not turn out so well.

The post Otoboke Beaver Apologize For Guitar-Tossing Incident That Hospitalized Fan appeared first on Stereogum.

Best Content Creation Tools Every DIY Rock Artist Should Try

Source
Getting content out as a DIY rock artist used to mean either hiring someone or spending weeks learning tools that weren’t built with musicians in mind. That’s shifted significantly, and today’s best content creation tools make it possible to handle design, video, and audio promotion without a label budget or a dedicated creative team.
For artists starting from scratch, a handful of tools consistently stand out across every format. Canva handles graphic design for release artwork and social assets. CapCut and Descript cover video editing for rehearsal clips and short-form content. Audacity keeps audio editing accessible and free. ChatGPT accelerates content ideation for captions, bio copy, and post ideas. Together, these five form a reliable starter stack that covers the widest range of promotional needs without overlap. Each one earns its place by being fast to learn, affordable or free, and genuinely suited to the rhythm of music releases and fan-facing promotion.
Quick Picks for a DIY Rock Content Stack

If you’re building a content workflow from the ground up, the goal isn’t to collect every tool available. It’s to cover the core formats, design, video, audio, and ideation, with tools that are fast to learn and easy to sustain.
Here’s a snapshot of where each category lands:


Audio-to-video automation: Freebeat turns a finished track into ready-to-post videos fast, which is ideal when you want more volume without spending hours syncing edits.
Design: Canva is the fastest all-around option for non-designers handling release artwork, flyers, and thumbnails.
Video: CapCut leads for short-form content, while Descript handles spoken and interview-style clips.
Audio: Audacity covers free multi-track editing, and GarageBand suits Mac users who want more production depth.
AI and ideation: ChatGPT helps generate post concepts, caption angles, and content calendars tied to specific release moments.

These picks prioritize speed, low cost, and multi-format use. They’re built around the actual rhythm of music releases, rehearsal clips, and fan-facing promotion rather than generic creator workflows.
Tools That Turn Songs into Social Video

Converting a finished track into platform-ready video content is one of the most time-intensive parts of DIY promotion, and the right tools cut that process down significantly.
When Audio-to-Video Automation Saves Time

Freebeat Audio to Video AI generates video content directly from an audio file, which removes the need for manual syncing altogether. This is great for artists with limited editing time, automation tools handle the heaviest lifting. This kind of workflow fits naturally into broader rock artist promotion strategies where volume and consistency matter as much as polish.
Best Apps for Reels, Clips, and Lyric Videos

CapCut is the most practical starting point for short-form video. Its template library is built around TikTok and Reels formats, and artists can sync audio, add text overlays, and export directly without touching a desktop editor.
InShot works well for quick live snippets and announcement posts. It handles aspect ratio switching cleanly, which matters when the same clip needs to go out across three different platforms.
Adobe Premiere Pro sits at the other end of the spectrum. It’s the right choice when a music video or a more produced YouTube piece needs precise cuts, color grading, and layered audio. The learning curve is steeper, but the output quality reflects it.
Descript fills a specific gap: it lets artists edit video by editing a transcript, which is especially useful for interview clips, podcast-style content, or anything with spoken word alongside music.
Design Tools That Keep Your Band Look Sharp

A band’s visual identity works the same way its sound does: inconsistency across releases makes it harder for listeners to recognize and remember who they’re looking at. Graphic design tools close that gap, giving DIY artists a way to build a consistent look without hiring a designer for every post.
Fast Artwork for Posts, Covers, and Flyers

Canva is the fastest all-around option for artists who aren’t trained designers. It offers ready-made templates sized for single covers, event flyers, Instagram posts, and YouTube thumbnails, all editable without any technical background. The free tier covers most needs, and the paid version adds brand kit features that help lock in consistent fonts and colors across every release.
For artists who want finer control over their visuals, Adobe Photoshop and Illustrator remain the standard. These tools make sense when a campaign needs custom typography, layered textures, or artwork that will be printed at scale.
Whichever tool an artist uses, the goal is the same: keeping the visual language consistent enough that fans instantly recognize new content as theirs. That consistency matters whether the asset is a story post or a full-length cover.
For artists building toward visibility in the underground metal scene, pairing strong visuals with underground metal scene coverage adds another layer of exposure beyond social media alone. Visual consistency, as discussed here, carries directly into the audio side of content creation as well.
Source
Audio Tools for Demos, Clips, and Podcasts

Audio is the part of DIY content creation that gets skipped most often, but for rock artists putting out rehearsal clips, demo snippets, or spoken promotion, the quality of what listeners hear shapes whether they stay engaged.
Best Low-Cost Editors for DIY Recording

Audacity is the most accessible starting point. It’s free, handles multi-track recording, and covers the basics of noise reduction and level balancing without a subscription. For artists who just need clean audio editing without a steep learning curve, it delivers.
GarageBand is the better option for Mac users who want something closer to a full production environment. It handles podcast editing naturally and works well when a demo snippet needs light arrangement or layering alongside the audio.
Descript sits in a different lane. It’s built around transcript-based editing, which makes it practical for interview content, spoken promos, or any clip where the words matter as much as the sound. Artists already using it for video editing will find the audio workflow familiar.
Why Your Microphone Still Matters

The editing tool only controls what’s already been recorded. A poor source recording limits what any software can fix, which is why even budget-friendly setups benefit from a decent microphone.
RØDE offers entry-level USB microphones that are widely used for home recording and podcast work. Pairing a reliable microphone with any of the three editors above closes most of the quality gap between DIY audio and professionally produced content.
AI and Planning Tools for Content Consistency

Staying consistent on social media is one of the harder parts of DIY promotion, and academic research on musician marketing confirms that irregular posting directly affects audience retention and discoverability.
AI content creation tools, particularly ChatGPT, help artists break out of that cycle by generating a steady stream of post concepts tailored to specific moments in a release cycle. An artist can prompt it with a gig date, a new rehearsal session, or an upcoming single drop, and get back a list of caption angles, story ideas, or fan engagement questions in under a minute.
The key is keeping prompts musician-specific. Asking ChatGPT to brainstorm content around a song release produces more usable output than treating it as a general writing tool. Content ideation works best when the inputs are concrete.
Once the ideas are in place, social media management tools like Buffer or Later handle the scheduling side, keeping posts going out at consistent intervals without requiring daily attention. The combination of AI-generated ideas and scheduled publishing removes the two biggest friction points DIY artists face when trying to stay active online.
Where Royalty-Free Media Actually Helps

Royalty-free music libraries like Artlist serve a different purpose than most DIY rock artists expect when they first encounter them.
For original music creators, the licensing question is usually reversed: the goal is protecting their own songs, not sourcing someone else’s. Where platforms like Artlist genuinely fit into a band workflow is in video content creation that sits outside the music itself.
Intro animations, lyric video backgrounds, teaser reels, and promo content often need supporting audio or visual elements that aren’t original recordings. Using unlicensed material in those assets creates distribution problems, particularly on YouTube. Royalty-free media solves that cleanly.
Artists who only release original music rarely need a full subscription. Those producing regular supporting content will find it earns its cost.
Start with the Tools That Match Your Workflow

The tools that work best are the ones that fit how an artist actually operates, not the ones with the most features or the loudest reputation. A band releasing content once a month has different needs than one posting weekly across multiple platforms.
Starter tools like Canva, CapCut, and Audacity cover graphic design, video editing, and audio editing without a significant time or financial investment. As output grows, more capable options become worth the learning curve.
Social media management and AI planning tools are the natural next layer once the core creative workflow is stable. Build from what’s already working, and add complexity only when the basics are running smoothly.

Holy shit, I thought these dudes were gone forever! A guilty pleasure, Raunchy hasn’t released an album since I last reviewed them in my first year as an idiotic dumbass Angry Metal writer. But no one has heard from them in a long fucking time. When I first discovered their impressive 2008 release, Wasteland Discotheque, I was on a kick to explore the underground who’s who of Danish metal. During that time, I not only came across Raunchy but also Mercenary, Panzerchrist, and Dominus.¹ Spread across so many varying musical styles, each band’s discog at the time was on regular rotation in the Grier household. While all but Dominus remain, only Raunchy continues to prove they can make their tried-and-true sound remain relevant.

With this year’s Prisoner, Raunchy remains the best of the bunch—the rest of these Danes reached their peak in the early aughts. But that depends on the ears of the beholder. Raunchy are the masters of one of the strangest combinations of genres, unapologetically mixing groove, melodic death, metalcore, and industrial rock/metal. They are also a rare breed for a band that’s been in existence for over thirty years: they have refused to surrender their core lineup (having replaced two members in their thirty-four years of existence), nor have they ever swayed from their style. Love it or hate it, Raunchy is one of the best of the style, and they are back to take you Prisoner.

Right away, you know Raunchy hasn’t lost a step since 2014’s Vices.Virtues.Visions.. “Frostbite” kicks off with an industrial introduction before the guitars take over the rhythm and punch it forward in a Mercenary way. It’s a safe song to begin the album because it has all of the band’s classic elements: ooo’s and awww’s, cleans and harshies, ferocity and melody, and some of the best choruses out there. The follow-up track, “Stranded,” follows in its predecessor’s shoes, delivering an Evergrey-esque mid-paced groove before alternating between calm verses and harsh pre-choruses. With each iteration, the chorus’s emotion and power grow stronger until the tension finally erupts at the end.

One of my favorite parts about the album is the flow. You might get a half-second after one song before the next begins, making it as fluid as possible. While Vices.Virtues.Visions. was emotionally heavy, some Prisoner’s tracks pack a hefty punch. “Revealing I” is a Fear Factory-infused blast attack that somehow balances each heavy riff with the absolute beauty of the chorus. While not as continuously ferocious, the back half of “Vanishing Act” fuses badassery with tripletty. Its chorus is probably the least memorable on the album, but it’s still very strong. It’s also impressive that this chorus is the “worst,” because each one is worth the time.

For example, the only good quality of the cringey, pop-synth, bitchy-emo “Darkest Self” is the chorus. And, goddamn, it’s a good one. But each time it restarts with its verse and pre-chorus pattern, I’m not sure I can make it through. “Masquerade” doesn’t have the same flaws, but it’s unique to the band, requiring a few listens to appreciate nuances. To conclude this journey of societal growth, missteps, and seclusion, the title track’s breathtaking beauty and hopefulness cap Prisoner perfectly. This new record is at the same level as Vices.Virtues.Visions. in quality and memorability. But what makes them equals is their perfect pairing: one to tear at your heartstrings and the other to empower you to get through it.

---

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Mighty Music
Websites: raunchydk.bandcamp.com | facebook.com/ronniband
Releases Worldwide: August 14th, 2026

The post Raunchy – Prisoner Review appeared first on Angry Metal Guy.

Aching Pine deliver a beautifully melodic indie folk piece with Treat Yourself, blending warm acoustic textures with gentle folk-rock touches and an inviting sense of intimacy. The songwriting feels natural and unforced, allowing the melody to remain at the heart of the arrangement while subtle instrumental details add warmth and depth. There is something comforting about the track’s understated approach, balancing thoughtful lyricism with an easygoing musical flow. Tender, melodic, and refreshingly organic, Treat Yourself captures the softer side of contemporary indie folk while showcasing a songwriter with a clear instinct for memorable melodies and emotionally resonant storytelling.

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Their debut album “The Pulse Of Atoms” will be arriving in October through Ipecac.

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