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MIXX Music Magazine, Raleigh, NC (2026)

09/04/2026

WHO THE F**K IS LIVING WEAPON?

You know Vein.fm. You know Fleshwater. But what the f**k happens when members of both decide they want to make something even more pi**ed off?

Enter Living Weapon

Based out of Boston, Living Weapon brings together members of Vein.fm and Fleshwater, with Jonathan Lhaubouet handling vocals, Jeremy Martin on guitar, Josian Soto-Ramos and Anthony DiDio also in the lineup, and Justin Legere on bass. The band first showed up with the Paradise EP back in 2021, but after a few years of silence, they came back swinging with their debut full-length, Death in the Family.

And holy f**king s**t, this thing is heavy.

Death in the Family clocks in at just over 23 minutes, but don't let the short runtime fool you. This album packs an absolutely ridiculous amount of chaos into that time. It's metallic hardcore, mathcore, metalcore and straight-up sonic violence thrown into a blender and somehow coming out even nastier.

The first taste, “The Leaving Process,” immediately tells you what you're dealing with. The riffs are frantic, the rhythms are constantly shifting, and Lhaubouet sounds like he's trying to rip his f**king throat out. It's aggressive without feeling like aggression for aggression's sake.

But there's more going on here than just making heavy music.

Death in the Family digs into mortality, existence, human connection and what happens when everything eventually comes to an end. Songs like “In Loving Memory” and “When No Light Compared” bring a much darker emotional side to the record, giving all that brutality something real underneath it.

And that's what makes Living Weapon interesting.

These guys have taken pieces of what they've already built and turned them into something that feels more chaotic, more pi**ed off and completely f**king unhinged.

If you're into the current resurgence of heavy, hardcore-rooted metalcore, Living Weapon should be on your radar right f**king now.

09/04/2026

NEW NOISE: POLARIS - “WITHOUT YOU”

Polaris is back, and this one hits f**king different.

“Without You” is their first new music in three years, but this isn't just another comeback single. The song deals directly with the loss of guitarist Ryan Siew, who died in 2023, and you can feel that loss throughout the entire track.

What I really like about this song is that Polaris doesn't try to hide behind the heaviness. Yeah, the riffs hit hard, the vocals are aggressive as hell, and there's a breakdown that absolutely f**king destroys. But there's also a vulnerability here that makes the song feel much more personal than your average metalcore track.

The video adds another layer to it, with the band performing inside an empty cathedral and old imagery from their history appearing throughout. There's something about seeing the band surrounded by all that emptiness that really drives home what this song is about.

Ryan was a huge part of Polaris, so there's no pretending things are just going back to the way they were.

They're different now.

And I think “Without You” is Polaris acknowledging that reality while still figuring out how to move forward.

This isn't just Polaris saying we're back.

It's Polaris saying we're still here.

And judging by this song, they've still got plenty of f**king fight left in them.

09/04/2026

SLEEP: Hempispheres

Third Man Records | 2026

★★★★☆ 4/5

Let's address the f**king elephant in the room: Matt Pike is gone. So is longtime drummer Jason Roeder, leaving Al Cisneros to rebuild Sleep with Bubba Dupree of Void on guitar and Dale Crover of the Melvins behind the kit. That's a hell of a way to shake up one of doom metal's most recognizable bands.

Eight years after The Sciences, Hempispheres proves Sleep can still function without two of its most familiar faces, but this isn't the same beast.

Dupree doesn't try to be Pike, and that's exactly what makes this work. His guitar playing brings a more psychedelic and blues-soaked character to the riffs, while Crover gives the songs a groove that feels looser and more dynamic than classic Sleep.

Cisneros is clearly the center of gravity here. His bass and vocals sit prominently in the mix, pushing the album toward the hazier, more psychedelic side of Sleep. Tracks like "The Morrisist" and "Whole Wheat Mountain / Well Baked" embrace that weird, cosmic stoner-metal territory the band has been cultivating for decades.

The riffs are there, the groove is there, and the atmosphere is absolutely there, but the production doesn't give the guitars the massive punch that made earlier Sleep releases feel like getting hit by a truck made of amplifiers. That's going to p**s off some longtime fans.

I'm not pi**ed.

Hempispheres isn't Dopesmoker, Holy Mountain, or even The Sciences. It doesn't need to be. This is Sleep trying to figure out what Sleep sounds like in 2026, and while the result isn't flawless, it's far more interesting than a nostalgia-driven retread.

There are moments where I wanted more weight and a little less air in the production, but when the bass locks in with Crover's drums and Dupree starts letting that guitar rip, the f**king magic is still there.

Sleep didn't replace Matt Pike. They shouldn't have tried. They built something different. And thankfully, it still sounds like Sleep.

09/03/2026

UPON A BURNING BODY BROUGHT THE F**KING HEAT TO WARPED TOUR DC.

If you came to Warped Tour DC looking for a band that would absolutely destroy a crowd, Upon A Burning Body understood the assignment.

The San Antonio metalcore wrecking crew hit the stage with zero interest in easing anyone into the day. From the first breakdown to the last f**king note, their set was built for movement. Heavy riffs, massive grooves, brutal vocals, and the kind of energy that makes a festival crowd forget how hot, tired, or dehydrated they are.

And honestly, that’s where Upon A Burning Body shines live. Their music already hits hard on record, but there’s something different when those riffs are blasting through a festival PA and a sea of people is throwing themselves around in the pit.

This wasn’t a “stand there and watch the band” kind of set. This was **get the f**k involved** music.

Warped Tour has always been about discovering bands that make you want to lose your voice, destroy your shoes, and walk away wondering what the hell just happened.

Upon A Burning Body checked every f**king box.

Heavy. Loud. Relentless. Exactly what a Warped Tour stage should sound like.

📸 Lynn Doby

09/02/2026

GRANDSON DIDN’T JUST PLAY WARPED TOUR DC. HE MADE A F**KING STATEMENT.

Grandson brought the chaos to Warped Tour DC, but the biggest moment of his set wasn’t just the music. It was the message.

During his performance, Grandson brought larger-than-life images of Donald Trump and Elon Musk onto the stage as part of a pointed political statement, setting the stage for his cover of Bob Dylan’s “Masters of War.” And yeah, it was about as subtle as a f**king brick to the face.

The choice of song was deliberate. “Masters of War” is a song built around condemnation of the people who profit from conflict while others pay the price, and Grandson used it to make his position impossible to miss. Instead of simply telling the crowd what he thinks, he turned the stage into a political f**king billboard and let the music deliver the punchline.

Musically, the set was exactly what you’d expect from Grandson: aggressive, unpredictable, and bouncing between alternative rock, hip-hop, electronic elements, and punk-fueled rage. But that political moment gave the performance something bigger than just another festival set.

Whether you agreed with the message or wanted to tell him to f**k off, Grandson clearly wasn’t interested in playing it safe.

That’s what Warped Tour has always been about. Loud music, individuality, rebellion, and artists willing to p**s some people off while making others feel seen.

Grandson came to Warped Tour DC to play. He left a f**king statement.

📸 Lynn Doby

09/02/2026

ALBUM REVIEW: LADRONES - ARRIBA LA L

MIXX Rating: 9.5/10

Ladrones aren’t asking permission to kick the door down. They’re already inside, turning the volume up and daring you to keep up. Arriba La L is a massive statement from a band that knows exactly what makes them different and isn’t afraid to lean into it.

Built around their “Flow Pesado” sound, Ladrones blend nu-metal, djent, hip-hop swagger, Latin rhythms and Mexican identity into something that feels completely their own. The nine-string guitar work is filthy, the grooves hit hard, and there are enough hooks to keep this thing moving without ever feeling predictable.

“Fierro, Viejo” comes out swinging, while “Ay Ay Ay” and the title track bring serious bounce without losing the heaviness. “Esto De Estar Solo” and “Malditos Sentimientos” show a more vulnerable side, proving Ladrones aren’t afraid to slow things down and let the emotion breathe.

But here’s where I have to be honest. After seeing Ladrones live, I know how much f**king energy this band brings to a room, and some of that electricity is missing from the record. The songs are heavy and the musicianship is undeniable, but there’s a visceral quality to Ladrones that feels much bigger when they’re standing in front of you. Some things are simply meant to be heard live.

“Boom Laika Shotgun” is a standout, while “No Rendirme Antes” delivers the djent with plenty of Latin flavor. “Qué Quieres De Mí” brings an anthemic punk and hardcore edge, while “Traición” may be the record’s heaviest moment, mixing deathcore brutality with melody.

Then “No Que No” closes things out with a club and cumbia feel before unleashing more nine-string chaos. It sounds ridiculous on paper. Somehow, it f**king works.

Arriba La L is heavy, catchy, emotional and unapologetically Ladrones. It may not completely capture the chaos of their live show, but maybe that’s the point.

Last thought: Ladrones are building their own lane. Go hear this s**t live and you’ll understand why.

09/01/2026

WHO THE F**K IS KNIFE BRIDE?

If you haven't heard of KNIFE BRIDE yet, you're about to.

Hailing from Brighton, UK, KNIFE BRIDE are building something they call Nu-Gothika, and honestly, that's probably the easiest way to describe a band that refuses to stay in one f**king lane.

Think Spiritbox, Bring Me The Horizon and Kate Bush thrown into a blender with progressive metal, industrial textures, cinematic atmosphere and a healthy dose of gothic darkness.

Yeah. It gets weird.

And it gets heavy.

Fronted by Mollie Clack, alongside Sean Windle on guitar, Craig Glynn on bass and Sean Millsopp on drums and synths, KNIFE BRIDE have carved out a sound that feels theatrical without becoming cheesy and aggressive without losing its melody.

The band's latest EP, sorry about the plague, dropped in April 2026 and shows exactly how far they've come. Tracks like WORTHY, crucify, lilies, porcelain and poisoned by god showcase a band that knows how to balance crushing riffs with vulnerability and atmosphere.

But the music is only part of the story.

KNIFE BRIDE have already shared stages with WARGASM, Scene Queen, HANABIE, SKYND and Defects, while appearing at festivals including Download, Burn It Down, The Great Escape and 2000trees. They've even earned nominations for Best UK Breakthrough Artist and Best Breakthrough Live Artist at the Heavy Music Awards.

That's a hell of a résumé for a band that hasn't been around that long.

And that's why KNIFE BRIDE feels like a band you need to catch now, before those rooms get a whole lot bigger.

Dark.

Heavy.

Theatrical.

Unapologetic.

KNIFE BRIDE isn't asking permission to exist.

They're building their own f**king world.

Who the f**k is KNIFE BRIDE?

A Nu-Gothika wrecking ball from Brighton that's just getting started.

Remember the name.

09/01/2026

NEW NOISE: SLAYYYTER – BIRDS

Turnstile handed Birds over to Slayyyter.

And she absolutely f**king ran with it.

As part of Never Enough: Versions, Slayyyter takes Turnstile's Birds and drags it somewhere completely different, transforming the hardcore-rooted track into a dark, glossy, electronic pop weapon.

This isn't a straight-up cover.

It's a full on reinvention.

Where Turnstile brings the raw energy, Slayyyter brings distorted synths, pounding electronic production, attitude and a seductive sense of chaos. The result is weird as hell, catchy as hell and somehow makes perfect sense.

And that's exactly what makes Never Enough: Versions so damn interesting.

Turnstile's original material was already built around breaking down genre walls. Now artists from completely different corners of music are taking those songs apart and rebuilding them in their own image.

Slayyyter might be one of the most unexpected pairings on the entire project.

Hardcore and hyperpop shouldn't necessarily work together.

But this?

Yeah. It f**king works.

Birds becomes darker, sleeker and more electronic without losing the underlying tension that made the original hit in the first place.

It's the kind of version that will probably p**s off the purists.

Which honestly makes it even better.

Turnstile didn't ask these artists to make faithful replicas.

They gave them permission to f**k with the source material.

Slayyyter understood the assignment.

Different sound.

Different attitude.

Same song.

And now Birds has another life.

09/01/2026

FEAR FACTORY IS F**KING BACK.

After five years without a new song, the industrial metal pioneers have finally unleashed Roboticist, and this isn't just another Fear Factory track.

It's the beginning of a new era.

Roboticist marks the first official studio release featuring new vocalist Milo Silvestro, who stepped into the massive shoes left behind by Burton C. Bell. That's a hell of a way to introduce yourself.

And the first thing you'll notice?

Milo gets it.

He brings the aggression, the melodic edge and the machine-like vocal attack that Fear Factory built its legacy on, while still sounding like his own f**king vocalist.

Musically, Dino Cazares wastes absolutely no time reminding everyone why his riffs helped define industrial metal. The guitars and drums lock together with that trademark mechanical precision, creating the kind of crushing, futuristic assault that made Fear Factory such a massive influence on modern metal.

And the timing couldn't be more perfect.

Roboticist arrived on August 29, the fictional date Skynet becomes self-aware in Terminator 2. The song dives straight into Fear Factory's longtime obsession with technology, artificial intelligence and the increasingly blurred line between humanity and machines.

Except now?

That s**t doesn't feel nearly as fictional.

Fear Factory has been warning us about this future since Demanufacture and Obsolete.

Now they're watching it happen in real time.

Roboticist is the first taste of the band's upcoming 11th studio album, and if this is the direction they're heading, the new chapter could be one hell of a ride.

New vocalist.

New album.

Same machine.

Fear Factory didn't come back to play it safe.

They came back to remind us that the future is already f**king here.

MIXX Music Magazine

09/04/2026

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