Should you have some free time in August.
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Should you have some free time in August.
The post The Number Twelve Looks Like You Seek Extras For Upcoming Music Video Shoot In New Jersey appeared first on Theprp.com.
Former Hole and Smashing Pumpkins bassist Melissa Auf der Maur has announced the forthcoming release of Bass Womb Room, featuring her first new music in over 15 years.
The album, Bass Womb Room: My ‘90s 4-Track Demos x Field Recordings, to give it its full title, will incorporate old and new music, and include previously unreleased four-track demos Auf der Maur recorded during the ’90s, in addition to eight new ‘interlude’ compositions created for an upcoming exhibition of the Canadian musician’s photography.
“I wrote these songs in the context of rising pressure from the major label-driven music industry on myself and my peers to make glossy hit songs to dominate radio airwaves,” Auf der Maur says in a statement. “These songs are the sound of my internal experimentation and a way of keeping the Montreal art girl alive inside. These sounds are the quiet and private side of the girl who joined the big American major label rock band.”
Auf der Maur first spoke about the project during a March interview with Louder.
“The museum exhibit of my photography that’s coming out with my book [My ’90s Rock Photographs]opens in Toronto in September, and it’s up for a year, and then it will travel internationally,” she told this writer. “It’s a very large exhibit, and one room is an ode to my bass and the fans, and it’s called the Bass Room, and I’m building a sonic score to the installation. So I’ve actually been in the studio, and I’m returning to music, but in a very bass forward way. It will be an hour long piece that goes throughout the exhibit, an audio journey.
“But, and you’re the first person I’m telling this, I also found some of my early four-track song recordings from the ’90s, and they are actually working really well within this ambient score. So I am going to be releasing, with the photo book, a new body of sound. And I’m really excited about it, because I think it’s the way that I’m going to ease myself back into sound. I need to come back in through the innocence place.”
Bass Womb Room will be released on September 4 via Envision Records. Melissa Auf der Maur: My ‘90s Rock Photographs opens at the Art Gallery of Ontario on September 2.
Reviewed by Oli Gonzalez
Time for another venture into the world of post metal, this time with Italy’s Viscera going under the microscope on the eve of their next full length release, “4. Assets For Psychedelic Warfare”. The band describe their sound as an “experimental melange of grindcore, new wave and heavy psychedelic music”. Sounds quite chaotic and varied! The Italians have listed multiple prominent bands across many genres that include the likes of Emperor, Discharge, Napalm Death, and Eyehategod. So what exactly can we expect from Viscera’s sound based off of this? The suspense is too much for me and I need to dive in now!
Based on that information above, the opening track tracks to the album are everything I expected. I just wasn’t sure how that would manifest! What I was introduced to was a chaotic and aggressive blend of multiple genres; the on the nose and blunt grind delivery, but rather than coming in short relentless bursts, the delivery feels more calculated and considered. Movements and passages are given the chance they need to develop and progress naturally rather than being hurried along before they’ve come to the boil. There’s a very subtle blackened underlining to the music also, much like Enslaved or Ihsahn (now the Emperor support slot makes sense!). Things slow down considerably for ‘Radiant’ and whilst the harsh primitive shriek and screamed style vocals were prominent, now the voice of the band is more calm and cleanly sung. Almost like Alcest, especially when you consider the very subtle shoegaze vibe. Whilst the psychedelic and shoegazey elements are present, the focus remains on the guitars and bass locking in to create groove-laden walls of distorted sound! Strong enough to hold their own and retain clarity but not fierce enough to overwhelm.

They lean more into the experimental and psychedelics in ‘The Messiah Complex’, providing smokey desert gaze movements. All before they open the flood gates and go full throttle with ‘El Magico’! Well, my left foot was tapping violently along to the infectious pace and rhythm, which says a lot for the impact this had on me! Though at this stage, listener fatigue does start to creep in. It feels as though ideas are being stretched too far in an attempt to build intrigue and tension but without the huge cathartic payoff nor crescendo that should come with it. It has to be worth a listeners time to commit their attention to nearly 10 minute songs afterall. Whilst Viscera shows promise in “4. Assets For
Psychedelic Warfare”, ultimately post metal is a difficult genre to master and the Italians fall a little short here.
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Find out how it has all shaped up.
The post Uncle Acid & The Deadbeats Detail Their New Album “Shapes Of Midnight”, Debut Its Title Track appeared first on Theprp.com.
Saxon guitarist Brian Tatler has confirmed that the band’s upcoming 25th studio album will be titled Gods of Thunder. Tatler revealed the album name to Neil Jones of TotalRock at the recent Maid Of Stone festival at Mote Park in Maidstone, Kent, United Kingdom.
The announcement came alongside the first leg of Saxon’s “Gods of Thunder” world tour, covering the U.K. and Ireland. In connection with the tour, Saxon will revive its legendary 30-foot mechanized Eagle — originally built in the early 1980s — for all U.K. and Ireland shows, with the exception of Cardiff due to venue restrictions. Byford said: “We wanted to make the Gods Of Thunder U.K. and Ireland tour extra special. And what better way than to fly our beloved Saxon Eagle again… Get ready for take-off!”
The Eagle was constructed by Midlands-based company LSD using airport runway landing lights, debuting during pre-tour rehearsals as Saxon prepared to tour their 1981 album Denim and Leather. It subsequently loomed over the band’s massive arena shows throughout the decade and inspired the title of their acclaimed 1982 live album The Eagle Has Landed, which peaked at No. 5 on the U.K. Albums Chart.
Gods of Thunder was mixed by longtime Saxon collaborator Andy Sneap — who also serves as touring guitarist for Judas Priest — a detail confirmed in January 2026. Gods of Thunder follows Hell, Fire and Damnation, which was released in January 2024 via Silver Lining Music and was likewise produced and mixed by Sneap and Byford.
Byford’s path to completing the album included navigating a significant health challenge. After undergoing surgery for bowel cancer in early 2025 — which required the cancellation of 10 summer shows — Byford completed a short course of chemotherapy and announced in October 2025 that he had finished treatment. The cancer diagnosis followed a 2024 procedure to treat atrial flutter and a September 2019 heart attack that required emergency triple bypass surgery.
Tatler joined Saxon’s live and recording lineup in mid-2023 to fill in for longtime guitarist Paul Quinn, who stepped back from touring in early 2023. Tatler continues as a member of Diamond Head; Quinn remains the other surviving original member of Saxon alongside Byford. Saxon were formed in Barnsley, South Yorkshire, and have sold approximately 23 million albums across a career that includes hard rock classics “Denim and Leather,” “Princess Of The Night,” “Wheels Of Steel” and “Power And Glory.”
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Sigh + Craven Idol @ Downstairs at The Dome, London 11th July 2026 Review by Demitri Levantis Photos by The Flâneur Japan’s leading black metal […]
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While any band, metal or not, would kill to have a classic in their discography, I often feel that having one can do their other albums a disservice. Some classics continue their perpetual status by virtue of self-fulfilling “this is good because we have been told it must be” prophecy (Tomb of the Mutilated), while some keep their status because fans refuse to accept anything else as even capable of touching this particular sound (None So Vile, Dopethrone, Destroy the Opposition) irrespective of the quality of follow-up releases. Over the last decade or so, Gorguts has usurped Meshuggah for the band everyone mines for inspiration, with fantastic results. Hailing from Denmark, Carbon Tomb are here to scourge the earth with their debut album Passage to a Neutron Star, and they too have thrown their hat in the Gorguts ring. Show of hands, who’s expecting an Obscura clone?1 Well, you’re wrong, and I couldn’t be more thrilled.
The backbone of Carbon Tomb plays heavily on Gorguts more straightforward yet just as foul From Wisdom to Hate. The discordant and oppressive approaches you expect are all present, but in a far more digestible form despite the raw ugliness of the notes. Alternating between grindcore-tier assault and full speed ahead spirit with sudden half-time slowdowns and twanging leads, Passage to a Carbon Tomb manages to draw from more than one spirit of disharmonic masters. The alien soundscapes of Artificial Brain collide with wailing and gnashing of Teeth (“A Hidden Creature”), oppressing the listener with haunting clashes of notes while always being ready to collapse into a foul riff or grim lead. “Reversed Head Renewal” channels the riff-centric Gorguts in all its glory, high trems riding out over a bass that clangs like The Iron Giant taking a jog. Title track “Passage to a Neutron Star” alternates between blast beats galore and sudden, brief measures of brvtal Ulcerate-isms before the vocals turn more throaty in style and the chord progressions become more slammy to follow suit. All of this should be a disjointed, inapproachable mess, but it is not, and at its peak, there are signs of some truly incredible things brewing in the Carbon Tomb camp.
Those signs find themselves in the album centerpiece, “The Dog Hunter” and “Of God’s Neglect.” These two songs are a perfectly complimentary pair of violence, fusing skull-liquifying riffcraft and supremely emotive introspection in equal turn. “The Dog Hunter” centers around a riff channeling Human Cull violence which slowly unravels with drummer Mikael rocking the bat-on-an-oak-tree sounding snare in various permutations, impossibly catchy without losing a drop of its oppressive atmosphere. “Of God’s Neglect” features a positively tear-jerking synth(!!) lead over more midpaced and mournful grooves, a flourish which appears completely out of nowhere and somehow fuses with the main spirit of the album masterfully, without ever seeming like an afterthought or unnecessary gimmick. This is the closest moment of raw melody on the entire album, and despite being a complete inversion of everything Carbon Tomb seem to stand for—ugly, dissonant notes and speed, suddenly slathered with slow, singable beauty—it doesn’t just work; it’s absolutely delightful and an instant contender for Song of the Year. A complete album with this dual approach would have me ready to give the highest marks, and it’s exciting to see that in an already very good album, ideas of proper greatness are gestating.

It helps that Carbon Tomb have a good ear for good production and album flow, with a decently dynamic master, especially for the genre. Drums are well articulated and clear despite the (usually) blast-heavy presentation, and vocalist/bassist Jappe Tander keeps his instrument center stage without ever overwhelming the depressed-alien riff construction of guitarist Richardt. Jappe’s vocal style also features some decent Gorguts nods, emulating Luc Lemay’s hoarse roar when not engaging in subterranean gutturals. The only big knock against Passage to a Neutron Star is that the mid-stretch is so S-tier that the back third seems to suffer a superficial dip in quality despite none of the songs themselves suffering from any serious bloat or superficiality.
Carbon Tomb have come out of nowhere and offered a devastating blow to listeners around the world with a debut of excellent quality and composition. I won’t yet go so far as to declare it an instant classic, but the giants it stands on are of some very broad shoulders indeed, allowing the band to reach where few young outfits could hope to tread. Passage to a Neutron Star has announced Carbon Tomb as big-time players in the world of grindy dissodeath, and I cannot wait to see what stars await us in the future.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Website: Album Bandcamp
Releases Worldwide: July 17th, 2025
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