Modest Mouse have been playing a ton of live shows lately. At some of those shows, they’ve been playing an unreleased song called “Look How Far…,” which is now officially released and marks Modest Mouse’s first proper single since their 2021 album The Golden Casket. It’s an upbeat, frantic, and somewhat misanthropic anthem about feeling…
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A new force is rising in heavy music.
After more than a decade at the forefront of modern metal, internationally acclaimed vocalist Alissa White-Gluz is entering a powerful new chapter with the launch of her new band, BLUE MEDUSA.
Known for her commanding voice, unmistakable stage presence, and trailblazing role in extreme metal, White-Gluz has built a career defined by momentum and reinvention. Widely recognized as one of the longest-serving female death metal vocalists, she has spent two decades performing on the world’s biggest stages and earning a reputation as one of the genre’s most electrifying frontwomen.
White-Gluz was at the forefront of Arch Enemy’s most successful years in the band’s history, expanding their global audience and performing on the world’s biggest metal stages. Across multiple bands, collaborations and projects throughout her career, White-Gluz has consistently helped push heavy music into new territory. Now, with BLUE MEDUSA, White-Gluz sets her sights on pushing that legacy even further.
Fans can expect the same signature ferocity, theatrical energy and vocal firepower that have defined White-Gluz’s career, now unleashed in a fresh, expansive and electrifying setting.
“Blue Medusa is the next evolution of everything I’ve been building toward for years,” says White-Gluz. “It’s my creative melting pot. Everything fans enjoy about the energy, intensity, and performance they’ve always experienced on stage with me over the past two decades is still here, even stronger. That is me, that is who I am and who I’ve always been. And now it’s amplified and unleashed in a fully sovereign artistic vision. Our music has blazing guitar solos, crushing riffs, brutal vocals, fast and aggressive drums, thoughtful melodies and most importantly (to me), really cogitative lyrics.”
Known for pairing ferocious vocals with thoughtful and introspective lyricism, White-Gluz’s writing channels catharsis, resilience, philosophy and intellectual and emotional depth.
BLUE MEDUSA consists of a trio of world-class musicians; White-Gluz has guitarists Alyssa Day and Dani Sophia at her sides. “The musical chemistry I feel with these women is really bringing me back to life. It is so refreshing and exciting,” says White-Gluz of her fellow gorgons. On stage, on drums and bass, White-Gluz hints that two women at the top of their musical game will be joining her; Delaney Jaster and Alicia Vigil respectively.
“I specifically chose to share this news on International Women’s Day because building stronger platforms for women in heavy music is something I care deeply about. I am brewing up a lot of ideas right now, my brain is in full creative flow. I’ve been carving my own path in this genre for a long time, and I want to help pave the way for the next generation of women who love metal as much as I do. Medusa turned people to stone… I want to pave the road in sapphire.”
With new music coming very soon and live performances already lining up with the band’s live debuts at Louder Than Life and Aftershock festivals, BLUE MEDUSA is taking off like lightning and marks the beginning of an exciting new era for metal fans.
More details will be announced soon.
Follow BLUE MEDUSA:
Facebook | Instagram | TikTok | Youtube
Long Island sect blends chaos with doom, classical, and ambient elements on their first release for An Eastern Temple Productions.
The post TELOCH VOVIN Announce New Release Towards The Inevitable, Stream First Single appeared first on Metal Injection.
DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’
While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.
No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.
With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.
No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.
Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026
The post No/Más – No Peace Review appeared first on Angry Metal Guy.
Take Me Back To Eden (2023) is widely considered the best Sleep Token album, combining massive viral momentum, genre-blending songwriting, and the band’s most ambitious production to date.
• Sleep Token currently has four studio albums
• Take Me Back To Eden remains the band’s defining breakout record
• Even In Arcadia (2025) shows the band evolving beyond the hype
• Sundowning (2019) introduced the mythology and sonic identity
• The band’s discography charts one of the most fascinating rises in modern metal
For anyone who has watched Sleep Token evolve from a mysterious underground act into one of the most talked-about bands in modern heavy music, ranking their albums isn’t just about picking favorites. It’s about tracing the evolution of one of the most unusual success stories metal has seen in years.
Over time, the band has quietly built a discography that blends atmospheric metal, alternative textures, R&B influence, and cinematic songwriting in ways that still feel unlike anything else in the scene.
With four albums now in the catalog, the Sleep Token story has become a fascinating arc of growth.
And one record in particular clearly stands above the rest.
Every band has to start somewhere, and Sundowning was where the Sleep Token ritual truly began.
The album introduced the mysterious identity of Vessel, the masked aesthetic, and the band’s unique blend of atmospheric metal, electronic elements, and haunting melodies. Tracks like “The Offering,” “Higher,” and “Dark Signs” gave early listeners a glimpse of the strange sonic world Sleep Token was building.
But while the record remains beloved by longtime fans, it also feels like the band was still discovering just how far they could push their sound.
In many ways, Sundowning was the blueprint.
Everything that followed simply expanded the vision.
Sleep Token’s second album pushed deeper into darker territory.
This Place Will Become Your Tomb refined the band’s sound while leaning even further into emotional intensity and genre fluidity. Songs like “Alkaline,” “Hypnosis,” and “The Love You Want” demonstrated a band that was rapidly gaining confidence in its ability to blend softness and brutality in the same moment.
The record also helped push the band further into the broader metal conversation.
For many listeners, this was the album where the band began to feel less like a mysterious cult act and more like a genuine force within the modern metal landscape.
By the time Even In Arcadia arrived, Sleep Token was already one of the most talked-about bands in heavy music.
The album builds on the enormous sonic scale introduced on Take Me Back To Eden while continuing to push the band toward an even more cinematic sound. It’s a confident record from a band that clearly understands its identity.
While newer releases often take time to settle into a band’s legacy, Even In Arcadia feels like a statement that Sleep Token’s rise wasn’t a fluke.
They’re still evolving.
And they’re still expanding the boundaries of what their sound can be.
For many fans, this is where everything changed.
Take Me Back To Eden was the album that launched Sleep Token from cult favorite into a global metal phenomenon.
Songs like “The Summoning” exploded across streaming platforms and social media, introducing the band to a massive new audience almost overnight. But beyond the viral attention, the record also showcased the band at the peak of their songwriting ambition.
It’s an album that moves effortlessly between crushing heaviness, lush atmosphere, and deeply emotional melodies.
More importantly, it feels like the moment where every piece of the Sleep Token puzzle finally clicked.
If someone asked where to start with the band, this is almost always the answer.
Part of what makes ranking these albums so interesting is that Sleep Token doesn’t really follow the traditional metal formula.
The band moves freely between genres, emotional tones, and sonic textures, often within the same song.
That willingness to experiment is exactly what has helped the group connect with a younger generation of listeners who grew up on playlists rather than strict genre boundaries.
And it’s also why the band’s rise has felt so unpredictable.
If you’re already exploring the band’s mythology, it’s also worth checking out our deeper breakdown of Sleep Token lore and the identities behind the band’s members — two topics that have become massive curiosity searches among fans.
As the band continues to evolve, the real question isn’t just which album is the best.
It’s what Sleep Token might do next.
How many albums does Sleep Token have?
Sleep Token currently has four studio albums: Sundowning (2019), This Place Will Become Your Tomb (2021), Take Me Back To Eden (2023), and Even In Arcadia (2025).
What is the best Sleep Token album?
Most fans consider Take Me Back To Eden to be the band’s best album due to its massive impact and genre-defying songwriting.
What album made Sleep Token popular?
Take Me Back To Eden significantly boosted Sleep Token’s popularity, especially after songs like “The Summoning” went viral online.
Sleep Token emerged in 2016 as one of the most mysterious bands in modern heavy music. Led by the masked vocalist known as Vessel, the group blends elements of alternative metal, progressive music, R&B textures, and cinematic production into a sound that defies easy classification. Over the past decade, the group has grown from a cult underground act into one of the most talked-about bands in contemporary metal.
The post Every Sleep Token Album Ranked Worst To Best (One Clearly Stands Above The Rest) appeared first on Loaded Radio.
For more than a decade, the great underground rap veterans Aesop Rock and Homeboy Sandman have been getting together for a series of EPs called Lice. Those guys bring out the absolute best in each other. When they get together, they always sound like they’re having fun without compromising the hyper-referential density of their styles.…
The post Aesop Rock & Homeboy Sandman Release New EP <em>Miami Lice: Season Four</em> appeared first on Stereogum.
1975 saw EAGLES on the verge of world domination which “Hotel California” would bring about a year later, but when the band released “One Of These Nights” that features such smashes as “Take It to the Limit” and the album’s … Continue reading
The post EAGLES Go Deluxe For “One Of These Nights” appeared first on DMME.net.
In case you haven’t picked up on it yet, I am insanely fucking hyped for Corrosion of Conformity‘s next album Good Man/Baad Man. Those guys are easily one of the best stoner/sludge/groove/doom metal bands out there today and have been for decades, so this album’s eventual release is nothing short of an event in my eyes.
Of course, a new album means new singles and after the recent release of “Gimme Some Moore”, fans of the band have been itching for that next hit. Well, here it is — they released a new single titled “You Or Me” today and it’s fucking awesome. It’s got killer riffs, great solos, and a weirdly trippy part half way through.
Then there’s the accompanying music video, which is an absolute trip. Created by visual artist Costin Chioreanu with additional footage filmed by Mike Holderbeast. That kind of collab, the band said, was integral to getting this single out there.
“Deep from within the forests of Romania and the twisted mind of our dear friend Costin Chioreanu comes his twisted visions put to Corrision’s music. It’s a match made in purgatory. There’s some special additions from [director] Mike Holderbeast’s crew as well.”
Good Man/Baad Man will be released on April 3 via Nuclear Blast Records, but you can preorder your copy today. If you’d like to catch ’em live, you can check out the full list of tour dates below and get your tickets today.
Good God / Baad Man Track Listing:
Album 1
1. Good God? / Final Dawn
2. You Or Me
3. Gimme Some Moore
4. The Handler
5. Bedouin’s Hand
6. Run For Your Life
Album 2
7. Baad Man
8. Lose Yourself
9. Mandra Sonos
10. Asleep On The Killing Floor
11. Handcuff County
12. Swallowing The Anchor
13. Brickman
14. Forever Amplified
CORROSION OF CONFORMITY Live:
4/07/2026 The Masquerade – Atlanta, GA *
4/08/2026 The Pyrle – Greensboro, NC *
4/09/2026 Starland Ballroom – Sayreville, NJ ^
4/11/2026 The Palladium – Worcester, MA ^
4/12/2026 Kodak Center Theater – Rochester, NY ^
4/14/2026 The Factory – Chesterfield, MO ^
4/15/2026 Manchester Music Hall – Lexington, KY ^
4/17/2026 VooDoo at Harrah’s Kansas City – North Kansas City, MO ^
4/18/2026 Anthem at Hard Rock Sioux City – Sioux City, IA **
4/19/2026 The District – Sioux Falls, SD ^
4/21/2026 Mesa Theater – Grand Junction, CO ^
4/22/2026 Metro Music Hall – Salt Lake City, UT (COC only)
4/23/2026 Treefort Music Hall – Boise, ID ^
4/24/2026 Cargo Concert Hall – Reno, NV ^
4/25/2026 Sick New World – Las Vegas, NV Festival Date
4/27/2026 Sunshine Theater – Albuquerque, NM ^
4/28/2026 The Horseshoe – Midland, TX ^
4/29/2026 The Aztec Theatre – San Antonio, TX ^
5/01/2026 Vinyl Music Hall – Pensacola, FL ^
5/02/2026 The Signal – Chattanooga, TN ^
5/03/2026 The Orange Peel – Asheville, NC ^
5/05/2026 Phoenix Concert Theatre – Toronto, ON *
5/06/2026 Fairmount Theatre – Montreal, QC *
5/07/2026 Le Poisson Rouge – New York, NY ***
5/08/2026 Underground Arts – Philadelphia, PA ***
5/09/2026 Mr. Smalls Theatre – Millvale, PA ***
5/10/2026 The Roxy – Lakewood, OH ***
5/12/2026 The Machine Shop – Flint, MI ***
5/13/2026 The Pyramid Scheme – Grand Rapids, MI ***
5/14/2026 Outset – Chicago, IL ***
5/15/2026 Cannery Hall – Nashville, TN ***
5/16/2026 Tipitina’s – New Orleans, LA ***
* w/Whores
^ w/Clutch, JD Pinkus
*** w/Whores, Crobot
The post Corrosion of Conformity Dropped a Supremely Groovy/Weirdly Trippy Single in “You Or Me” appeared first on MetalSucks.