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    Whoman – Errance

    By
    Ryan Martin
    -

    Whoman has premiered their new video for the track titled ‘Errance’, from their upcoming album ‘About Honey’, dropping in March via Capitane Records.

    Done with an atmospheric flair and a penchant for lush and vivid subtlety, Whoman gives a beautifully quiet performance that changes the mood and creates inspirational reflection to and for whomever listens. I have to say that this song captured me from the start. It’s it’s own thing, and I don’t know how else to say it. Just enough of everything to hit the feels and whet the soul while giving you a reason to be you.

    The vocal synchronicity between Lou Wéry and Mira De Schepper take ‘Errance’ to a new level musically and spiritually, making the obscurity of the song prominent and giving interest as much as inspiration. A true sonic work of art.

    About ‘Errance’

    ‘Errance’ is the second single from their forthcoming debut album About Honey (March 2026), the track dives into urban wandering in the face of everyday “monsters” – capturing the fragility and resilience of modern life through the band’s signature dense vocal harmonies and progressive arrangements.

    Sung in dual vocals by Lou Wéry and Mira De Schepper, ‘Errance’ blends unease and solidarity, exploring the tension between vulnerability and strength as we navigate city streets and contemporary anxieties. The track showcases Whoman’s unique ability to transform interior emotional landscapes into soaring indie rock that draws comparisons to Animal Collective, Dirty Projectors, and Cocteau Twins.

    Composed by Lou Wéry and arranged collectively by the band, ‘Errance’ is accompanied by a striking choreographed video shot at Ultima Vez Studios in Brussels and directed by Lou Wéry herself. The visual piece conveys the physical tension and restless energy embedded in the track, confirming Whoman as one of the most distinctive emerging acts on the Brussels music scene.

    Following their September single ‘Damp The View’ – a gentle meditation on time, memory, and the impossible desire to truly understand another person – ‘Errance’ reveals a darker, more urgent side of the band’s sonic palette while maintaining their characteristic intimacy.

    Founded in Brussels around Mira & Ambroos De Schepper (Bandler Ching, Mos Ensemble) and Lou Wéry (Stace, Paradoxant), Whoman have been touring across Belgium and France since 2022. Each summer, they embark on a unique tour through mountain refuges, performing reworked versions arranged for three voices and three guitars – an experience that has brought new emphasis to their intricate vocal harmonies.

    Their debut album About Honey captures the tension between Brussels’ creative energy and longing for quieter, natural landscapes. Born from dreaming about nature while confined to a small city apartment, the album balances intimacy and audacity, fragility and vitality – themes that pulse through ‘Errance’ with particular intensity.

    About Whoman

    Whoman is a Brussels-based indie band founded around Mira & Ambroos De Schepper (Bandler Ching, Mos Ensemble) and Lou Wéry (Stace, Paradoxant). Their unique take on indie rock blends dense vocal harmonies and progressive riffs, creating music that exists somewhere between Animal Collective’s experimentalism, Dirty Projectors’ complexity, and Cocteau Twins’ ethereal beauty.

    Since 2022, the band has built a devoted following through tours across Belgium and France, including their distinctive summer mountain refuge performances. Their forthcoming debut album About Honey arrives March 2026 via Capitane Records.

    LINKS:
    https://www.instagram.com/whomantheband/
    https://www.facebook.com/whomantheband

    The Guilteens – Heavy Letters

    By
    Editorial Team
    -
    The Guilteens
    The Guilteens

    Cork-based quartet The Guilteens release their hotly anticipated debut EP ‘Heavy Letters’ (31st Oct via LVP Records).

    Recorded by Christian Best (Mick Flannery / Susan O’Neill / The Bonk), mixed by John ‘Spud’ Murphy (Black Midi / Lankum), and mastered by Jamie Hyland (Gilla Band / Mhaol), the EP showcases some of the band’s sharpest and most complete work to date.

    Bringing guitar-led soundscapes that combine psychedelic twists, post-punk undertones, and dark alternative rock tones, the four-track EP highlights the band’s growth. From the spacious atmosphere of ‘Born Evil’ to the fuzzy tones of ‘Monolith’ and the theatrical, piano-led darkness of ‘Savour’, the band demonstrates a sense of freedom, a willingness to push the boundaries of their sound and create music that is melodically accessible yet experimental and challenging.

    Speaking about the EP, the band explains: “In this band, we’re all into artists that have a variety in their sound. So this EP is very much down that line of mixing it up and keeping it interesting and showing a few of the different sides to our music”

    About The Guilteens

    Made up of members of previously celebrated Irish bands Ladydoll and The Vincents (who have supported acts such as Pale Waves, The Dandy Warhols, Gary Numan, Billy Idol, and The Telescopes), The Guilteens are no strangers to success and have quickly gained widespread press support.

    Formed out of a shared love for dark melodies and jagged rhythms, The Guilteens deliver music that is at once visceral and melodic, songs that strike like a knife but linger like a memory. The band’s sound creates a cinematic atmosphere, blending sharp-edged modern rock with a haunting sense of storytelling. Drawing inspiration from the grit of garage rock, the looseness of psychedelia, and the moody aesthetics of French New Wave cinema, The Guilteens craft a sound that captures a sense of nostalgia with a current immediacy.

    The band, made up of Finn Sedas (Guitar, Piano, Vocals), Tomás O’Brien (Bass), Cathal Nally (Guitar, Trumpet), and Shane Murphy (Drums), released their debut single ‘Further Down the Channel’ in March 2025 and have since been building a reputation as a live band, touring Ireland and playing notable support slots with other rising Irish acts such as Cardinals, Therapy Horse, and Jean Pack.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/the_guilteens/
    https://open.spotify.com/artist/7v2vsx6K1oNGKShiG8WcXT
    https://linktr.ee/theguilteens
    https://www.youtube.com/@TheGuilteens

    MaveriX – I Hate You All

    By
    Ryan Martin
    -
    Maverix
    Maverix

    MaveriX have today premiered their new single titled ‘I Hate You All’. Gritty retrotastic guitars amid a flurry of filth with plenty of f*cks to give and get off to, MaveriX shows that punk is not dead and flourishes with the style and bravado it was always known for.

    While considered lengthy for a true punk song, at 3:02, the trueness remains to form with a hook from hell and a melody to muse to. It’s the guitars that rule the song, in this case, however. They highlight the slick filth and fury that shows that MaveriX are as original as Coke Classic with the best bourbon mixed in for good measure.

    ‘I Hate You All’ is as much a kick in the nuts to bands like Green Day as it is a genre returning to it’s roots with a fresh sense of self.

    About MaveriX

    An explosive blend of melodic punk rock and country influences defines the unmistakable sound of MaveriX — a band already hailed as “the European Social Distortion.” Formed in South Milan by seasoned musicians Nicc, Drago, and Teo, MaveriX has quickly carved out a distinctive presence on the music scene, making a powerful impact in just two years.

    Debut MaveriX album, ‘COWPUNK!’, released under the Rocketman Records label, received enthusiastic reviews on many industry webzines and fanzines. But that’s not all: MaveriX have set stages on fire across Northern and Central Italy, Sardinia, Switzerland, and Belgium, even opening for the legendary band Punkreas in July 2024.

    New MaveriX single ‘I Hate You All’ is a raw and ironic outburst against conformity and social façades which begins a series of new MaveriX singles leading up to a brand-new EP scheduled for release in Spring 2026. With blistering spaghetti western infused riffs and a raucously infectious group-chanted chorus, the song expresses the discomfort of feeling out of place in a world that looks perfect only on the surface. It’s bold, provocative, and unfiltered—because sometimes hate is just the loudest way to say we don’t want to be like everyone else.

    LINKS:
    https://www.instagram.com/maverix_cowpunk/
    https://maverix-cowpunk.bandcamp.com/
    https://www.facebook.com/maverix.cowpunk/
    https://www.youtube.com/@maverixcowpunk

    Now, Now – 01

    By
    Editorial Team
    -
    Now, Now
    Now, Now

    Now, Now have announced their surprise new EP 01. The four tracks found on 01 are the first new music from Now, Now since their critically acclaimed 2018 album Saved, which landed them on multiple year end “Best Of” lists among praise from NPR, Stereogum, Pitchfork, New Yorker, Nylon, FADER, GQ, Billboard and more. The beloved twin cities duo (KC Dalager and Brad Hale) have never been ones to rush a good thing, and 01 is worth the wait.

    Now, Now have always taken their time between releases. Retreating to their cocoon after each new album and touring cycle, where they slowly metamorphosize until emerging fully formed in a different and more powerful light. “We aren’t the type of band that can just churn things out for the sake of churning them out,” shares Hale. “We really have to be in a very specific place to start making new music.” In the time since the release of Saved, Dalager and Hale have navigated their own personal pursuits and challenges. Hale leaned in to producing, mixing, and songwriting with and for other artists, and became obsessed with knitting. Dalager released the well received solo album Think I’m Gonna Die as KC Rae in 2023, became a certified sound meditation practitioner, and has been learning how to care for and work with horses while volunteering at an equine assisted therapy nonprofit. “I’d never been able to have a life where I focused on anything other than music and touring as the main and pivotal focal point of existing,” says Dalager.

    Taking the time and space for self-discovery and life outside of Now, Now was key to the duo’s path back to the band. The recording process behind the songs found on 01 benefitted from their unhurried and deliberate approach as well. After Saved, they found themselves free from the constraints and sometimes stressful expectations that come hand in hand with releasing music via a label. So when they finally began to record again in earnest in 2023, they did so without the specter of looming deadlines, outsider ideas, and unwanted suggested collaborators to contend with. They returned to their basement studio, just the two of them, back where they began. Albeit with some new toys to experiment with as they huddled in front of the space heater during the colder months of the Minnesota winter. “I’ve gotten a lot of fun gear over the years that we’ve been using,” says Hale, “lately some vintage digital reverbs that have been great to incorporate.” The extended timeline has allowed them the opportunity to really sit with their music as well. “I think we spent more time on the sonic world these songs live in this time around,” shares Dalager.

    01 is a bridge connecting Now, Now’s past to the present, and with an eye to the future. The songs on the EP, two of which have been in the works since the late 2010s, have evolved with Hale and Dalager as they better came to understand themselves. This in tandem with their ever increasing well of experience to draw from when it comes to instrumentation and production. “I think these songs are really a great example of the culmination of everything we’ve learned over the 23 years of making music together,” says Hale, noting that the band have swung back towards some of their more analog roots while continuing to push the boundaries of their digital experimentation. 01 is also “another lesson in trusting ourselves,” says Dalager, and it’s an instinct they plan on fully embracing as they figure out what comes next for Now, Now.

    Featured image by Tom Thorton.

    SOURCE: Official Bio

    LINKS:
    https://nownow.band/
    https://www.instagram.com/nownowband/
    https://www.youtube.com/channel/UCXIClNK5na27EXgnOX9GFbQ
    https://www.tiktok.com/@nownowband

    Bee Bee Sea – You

    By
    Ryan Martin
    -
    Bee Bee Sea
    Bee Bee Sea

    Bee Bee Sea has today released their new single titled ‘You’ from their upcoming album ‘Stanzini Can Be Allright’, dropping November 21st via Wild Honey Records.

    Hate as an homage as reality inevitably sets in. We’ve all been there, but rarely is there an anthem for that tiny sliver of time that most of us experience but rarely talk about. That part where we wish the other harm and death and refuse to acknowledge those feelings because they’re not what we want to admit to stooping to.

    Short, not-so-sweet, and all-to-the-point, ‘You’ cuts to the chase and pulls absolutely no punches showing us that we’re not the only one and feelings are normal and part of the process. The song, however, feels more appropriate being names ‘**** You’.

    About Bee Bee Sea & ‘Stanzini Can Be Allright’

    ‘You’ is the new single taken from the upcoming new album. Love songs can be beautiful — but thankfully, there are hate songs too. “You” is one of them. It’s about that moment when affection fades, when someone you once loved starts to drive you crazy. There’s no big reason why — maybe you’ve just spent too much time together, and all the little quirks that used to seem harmless begin to wear you down. You realize your values aren’t quite aligned anymore. Yet, the good memories remain, and deep down, there’s still a trace of affection — as long as they don’t come too close.

    The band recalls” “‘You’ was born almost by accident, during a rehearsal session. After writing one too many four-minute songs with intricate structures, we challenged ourselves to do the opposite: something short, fast, and straight to the point. So we set a timer for 1 minute and 37 seconds and decided to play without saying a word, except for the key. The rule was simple: we had to come up with a song before the alarm went off. Said and done — by the end of the rehearsal, we had ‘You’.”

    ‘Stanzini Can Be Allright’ is a tribute to the nearly eponymous song by The Gizmos, ‘Midwest Can Be Allright’. Can growing up in the plains of Northern Italy resemble, in some way, the Midwest experience? Maybe, maybe not; it’s hard to say. But Bee Bee Sea saw something in this parallel. And it’s from this conviction that everything was born. The idea of coming from an isolated place, with cold, foggy winters and blazing summers, far from major cultural and economic hubs, doesn’t sound all that appealing. Yet The Gizmos managed to capture this desolation with a sense of irony and genuine attachment to their roots. The band explains: “In our own way, maybe unconsciously at first, we let ourselves be inspired by this, too. And Stanzini is just that: a parallel universe, a creative force born to fill in what might be missing for a few kids from a provincial town. From a garage turned into a rehearsal space, Stanzini took shape—a musical collective that creates and develops projects far from the hype of the big cities”.

    The album contains 12 tracks that tell stories of these people and places. If The Gizmos inspired us in spirit, ‘Stanzini Can Be Allright’ goes much further musically. It’s still garage rock, but it expands broadly, embracing diverse influences with a distinctly personal style and plenty of nuances. You’ll hear some egg punk, but also Guided By Voices; hints of Sweeping Promises as well as The Cleaners from Venus. There are loads of melodies and plenty of riffs. It’s a diary of life experiences in a place that may not be extraordinary, but all in all, “can be allright” when you set out to change it. And music can change a lot of things.

    Hailing from Castel Goffredo, s small town in Northern Italy, Bee Bee Sea play garage/punk/psych with a power-pop heart — or simply “ROK,” as they like to call it, whatever that may truly mean. The band formed in the early 2010s among the foggy plains of Lombardy, in makeshift rehearsal rooms between Mantua and Brescia. They started off playing 60s classics — Beatles, Stones, The Who — before quickly moving to write their own songs: fast, rough, and irresistibly catchy, somewhere between The Black Lips and The Replacements.

    Over the years, Bee Bee Sea have played hundreds of shows all across Italy, then throughout Europe and twice in the United States — including a stop at Pickathon Festival. Their first two albums earned them tours with heroes and contemporaries such as Thee Oh Sees, The Black Lips, King Khan, IDLES, Night Beats, and Broken Social Scene, bringing their chaotic rock’n’roll from tiny basement clubs to major festival stages and even TV soundtracks (Shameless, Ginny & Georgia) and their songs have gained airplay on BBC Radio 1, Radio X, KEXP, WFMU, and were even championed multiple times by Iggy Pop on his BBC 6 Music show.

    SOURCE: Official Bio

    LINKS:
    https://beebeesea.bandcamp.com
    https://facebook.com/BeeBeeSea
    https://twitter.com/beebeeseaband
    https://instagram.com/beebeeseaband

    Ark Identity – Deluxe Nightmare

    By
    Editorial Team
    -
    Ark Identity
    Ark Identity

    Ark Identity is the dream pop solo project of Toronto’s Noah Mroueh. A singer/songwriter and multi-instrumentalist, Noah creates immersive soundscapes praised for their “addictively good” melodies. His music weaves dream pop with the boundless realms of psychedelia, offering listeners a passage into spaces of reflection and discovery.

    Noah draws inspiration from an eclectic mix of influences, including Tame Impala, Oasis, Bon Iver, Foster the People, and The Beatles. This array of inspirations has shaped his sound. As Ark Identity, Noah invites his listeners into the introspective world he has crafted, one instrumental part at a time.

    SOURCE: Official Bio

    LINKS:
    https://www.tiktok.com/@arkidentity
    https://open.spotify.com/artist/569UPpViTfeKYYJRjggAz8
    https://www.youtube.com/@arkidentity
    https://www.facebook.com/profile.php?id=61558568199881
    https://www.instagram.com/arkidentitymusic/

    Intercourse – Family Suicide Gun

    By
    Ryan Martin
    -

    Intercourse has today released their new video for the track titled ‘Family Suicide Gun’, from their new album ‘How I Fell In Love With The Void’, out now via Brutal Panda Records.

    While ‘Family Suicide Gun’ is a good indicator for where ‘How I Fell In Love With The Void’ is as an album, the nuances and not-so-subtle dive into the hardcore void is an angst laden voyage left for the mind and something you definitely do not want to put on infinite repeat for anyone confined to a prison cell.

    However you feel about the noise rock elements, you get caught in the moment when you feel that slick power run through your limbs as the music gets you ready for your day and helps define it. Just don’t do anything that will get you fired.

    About Intercourse

    The self-deprecating Intercourse – vocalist Tarek Ahmed, guitarist Sean Prior, drummer Caleb Porter and bassist Pete Stroczkowski – has averaged a release per year since forming in 2013, and has kicked against the pricks, power brokers, and pissants who make America “great” while tempering their outlook with a self-deprecating look inward.

    Intercourse’s ‘How I Fell In Love With The Void’ delivers ten searing new tracks that merge elements of metallic hardcore into an antagonistic foundation of corrosive noise rock. The album was recorded by Chris Teti (The World Is A Beautiful Place And I Am No Longer Afraid To Die) at Silver Bullet Studios in Burlington, Connecticut. It was mastered by George Richter (Thy Will Be Done) and mixed by Chris Teti and Greg Thomas. The photograph on the album cover was shot by Sherilyn Furneaux (Portrayal Of Guilt) and features exotic dancer Clementine.

    With the “Family Suicide Gun” video, Ahmed states, “We got really into documenting shows and shit after I bought a Hi-8 camera so we could do the video for ‘Where Losers Go To Die,’ so the natural progression was for us to get a GoPro. Then I got the genius idea to have everyone film themselves tracking with it so we’d have a cheap and easy video. Also, the vibes at Silver Bullet are immaculate, so why not? The song itself is about the hell of capitalism and how people work themselves to death only to retire, if they’re lucky, with the best years of their lives in the rear view. We got the title from a Reddit post about a literal cursed gun that took out multiple members of the same family.”

    Intercourse commemorated the album’s release on a tour with Nerver through the Central US in September. The band is now booking sporadic regional gigs, including a show in Medford with Miracle Blood and more on November 22nd and a nasty gig supporting Pig Destroyer and Deadguy in Philadelphia December 13th. Expect further updates to post shortly.

    Featured image by Matt Darcy.

    LINKS:
    https://linktr.ee/IntercourseCT
    https://Intercourse.bandcamp.com
    https://www.instagram.com/Intercoursenoise
    https://www.facebook.com/outsiderxhardcore
    https://x.com/Intercoursect
    https://www.brutalpandarecords.com
    https://linktr.ee/brutalpanda
    https://brutalpandarecords.bandcamp.com
    https://www.instagram.com/brutalpandarecords
    https://www.facebook.com/BrutalPandaRecords
    https://x.com/BrutalPanda

    Ailbhe Reddy – So Quickly, Baby + Tour Dates

    By
    Ryan Martin
    -

    Ailbhe Reddy has today released her new video and single titled ‘So Quickly, Baby’, from her upcoming album ‘Big Kiss’, dropping January 30th via Don Giovanni Records.

    Love lost and lessons learned, ‘Kiss Big’ is a testament to that certain stage of the breakup that we all dread but, in the end, is best for us all. Perception of mutual feelings and assumptions meant for the other and thought to be felt alone. That moment of transition that is painful in the road ahead but can be reassuring in the rearview mirror.

    Done in a subtle and poetic style with reflection and grace, ‘So Quickly, Baby’ hits all the feels without pumping the breaks too hard, but lets us know we aren’t the only one. The music highlights the emotions and Ailbhe’s vocals hit every heart string with the emotion wrapped in the melody.

    About Ailbhe Reddy, ‘So Quickly, Baby’ & ‘Kiss Big’

    Reddy describes ‘So Quickly, Baby’ as “the meltdown song, the album’s neurotic heartbeat. A tug-of-war between grace and chaos. The verses attempt to be the bigger person, while the choruses unveil the question at its heart, ‘How are you already fine, and when will I be?’”

    “It’s about the push and pull between wanting to be gracious and wanting to scream,” she continues. “That weird neurotic whiplash when someone seems totally fine while you feel like you’ve been dropped in the middle of nowhere without a map.”

    ‘Kiss Big’ is a breakup record, but not the tidy, acoustic kind. It lives in the messy middle: that disorienting stretch when the life you built with someone collapses and you’re left trying to figure out who you are on your own. It’s a portrait of the aftermath, the numbness, the confusion, and the brief flashes of clarity when identity slips, rearranges, and slowly reforms.

    Written between Dublin, London, New York, and the American Midwest, ‘Kiss Big’ traces the full cycle of love, loss, and renewal, the way we swear “never again,” only to find ourselves back at the start with renewed hope. Throughout the album, Reddy builds an emotional world that feels both deeply personal and quietly universal: raw, wry, and wide open, the sound of coming apart and piecing yourself back together.

    “It’s about the aftershock of a breakup,” she explains. “That liminal space where you’re equal parts sad, hopeful, terrified, and probably a bit delusional.”

    Drawing inspiration from Fleishman Is in Trouble and Sarah Kane’s Crave, Reddy combines diaristic lyrics with soft-spoken intensity, creating music that exists between indie rock and confessional folk, echoing the emotional gravity of Julia Jacklin, Phoebe Bridgers, and Lucy Dacus.

    Reddy’s previous albums, Personal History and Endless Affair, earned widespread acclaim and a Choice Music Prize nomination, with praise from The Guardian, Pitchfork, The Times and more. She’s performed at Glastonbury, SXSW, The Great Escape, and beyond, steadily building a devoted audience drawn to her honesty and emotional precision.

    With ‘Kiss Big’, Ailbhe Reddy leans further into her gift for making the personal feel universal. These are songs for endings, almost, and the quiet beginnings that come after, a vivid, self-aware breakup album from one of Ireland’s most compelling voices.

    Featured image by Su Mustecaplioglu.

    ‘Kiss Big’ Tracklist

    'Kiss Big' cover.
    ‘Kiss Big’ cover.
    1. Align
    2. That Girl
    3. So Quickly, Baby
    4. Untangling
    5. Graceful Swimmer
    6. Dead Arm
    7. Gorgeous Thing
    8. Kiss Big
    9. Crave

    LINKS:
    https://www.instagram.com/ailbhereddy
    https://www.facebook.com/AilbheReddy/
    https://www.youtube.com/channel/UCzRCXBOHcUu0pgpQfvJQcgQ

    Michael Monroe – Rockin’ Horse + Tour Dates

    By
    Editorial Team
    -

    When music decides to just show up and strut and rock and roll and stomp with swagger, swing and raw energy all over you, that’s the rarest surprise and Michael Monroe does not disappoint with his brand new studio album, Outerstellar, set for release via Silver Lining Music on February 20th, 2026.

    The first video and single taken from Outerstellar, “Rockin’ Horse is a cool, rockin’ song that we made a great fun video for with the fantastic director Leigh Brooks,” comments Michael Monroe. “We got into different characters on the so called ‘Waking Up With Michael Monroe’ TV morning show with me as the host. And it’s the first time ever you can see me without make up(!). Great fun and good times. Hope you enjoy it!”

    ‘What ‘genre’ is Michael Monroe?’ Oh, go and throw yourself back into the shoebox you restrict yourself to if you need a genre… How about ‘sweet smelling leathery sweat wrapped in one of the greatest rock ‘n’ roll voices?’ How about ‘harmonies and vibes swimming in silk scarves and lounging on a beaten sofa in leather pants, with the AM hours alive and the melodies so, so intoxicating?’ And how about ‘attitude! Which screams carefree not carelessness, confidence not arrogance, a cocksure sense of self-bathed in the sheer joy of playing the religious experience of real rock ‘n’ roll.’

    ‘Outerstellar’ Tracklisting

    'Outerstellar' cover.
    ‘Outerstellar’ cover.
    1. Rockin’ Horse
    2. Shinola
    3. Black Cadillac
    4. When the Apocalypse Comes
    5. Painless
    6. Newtro Bombs
    7. Disconnected
    8. Precious
    9. Pushin’ Me Back
    10. Glitter & Dust
    11. Rode To Ruin
    12. One More Sunrise

    From loud crashing guitars to harmonicas, to gorgeous acoustic moments, you’ll sing, you’ll dance, you’ll shiver, you’ll shake, and you’ll smell this wonderful exhilarating record in all its weathered biker jacket incense-coated glory and you’ll also realize that whatever the hell is going on in the world right now, when you put this album on, it’s an instant escape to carefree days and an emancipation from worries, fears and woes.

    It is exactly what rock ‘n’ roll in its truest sense is meant to be, and Michael Monroe is handing you permission to get lost in the love of it. In fact, just stop reading this, get off your ‘Rockin’ Horse’ and go see Michael Monroe on tour at your first opportunity! In support of the release of Outerstellar, Michael Monroe and band will embark on a UK co-headline tour with Buckcherry, kicking off in Southampton on February 24th.

    SOURCE: Official Bio

    LINKS:
    https://michaelmonroe.com/
    https://facebook.com/michaelmonroeofficial
    https://instagram.com/michaelmonroeofficial
    https://www.tiktok.com/@officialmichaelmonroe
    https://linktr.ee/michaelmonroeofficial

    Devon Church – Fall Like Lightning

    By
    Ryan Martin
    -

    Devon Church has today released his new video and single titled ‘Fall Like Lightning’, from his upcoming album ‘All That’s Solid Melts Into Air’, dropping November 7th.

    Signature from that first note, brooding and bashed throughout, Devon Church shows a signature style that is both original and interesting. ‘Fall Like Lightning’ is a prime display of what to expect with ‘All That’s Solid Melts Into Air’, when it drops November 7th.

    Lyrically genius, like a beautiful word salad drenched with extra dream dressing, ‘Fall Like Lightning’ careens, clashes, and caresses the lyrics into the music so they fit in a truly artistic and mesmerizing manner. This is as much a work of art as it is a song. Don’t dismiss, digest.

    About Devon Church & ‘All That’s Solid Melts Into Air’

    On his new single “Fall Like Lightning,” Devon Church attempts a kind of “Subterranean Homesick Blues” for dejected denizens of the internet. A lyrically dense, Dylanesque polemic against social media and surveillance capitalism, it dances between irony and sincerity, tragedy and comedy, to the urgent palpitations of a crackling breakbeat. Recorded to dusty cassette tape, the track seems to belong somewhere in Northern England circa 1997 while the lyrics ponder our extremely 21st century predicament.

    ‘Is there no alternative, is this how we were meant to live? A price on every molecule and subatomic particle…’ Church sings, recalling Margaret Thatcher’s inauguration of the neoliberal counter-revolution and the subtitle of Mark Fisher’s book, Capitalist Realism. The lyrics do propose a solution to this riddle. Perhaps the alternative is to collectively turn away from the digital spectacle that has commodified everything but our dreams (‘there must be some way to monetize / what you see when you close your eyes”) and take up the cause of human solidarity against the billionaire tech oligarchs (“Zuckerberg, Bezos, Thiel, Ek, Musk / they filled our beggars cups with dust”). Foretelling their defeat, Church employs one of his trademark biblical references, quoting Jesus of Nazareth in a sardonic baritone for the song’s refrain; “I see Satan fall like lightning”…

    The video for the song, shot principally in the futuristic ruins of Michelangelo Antonioni and Monica Vitti’s abandoned dome-home, features Church glued to his iPhone in various dramatic Sardinian and Roman locations. It was directed by Church, filmed by his wife, painter Ada Roth (who also contributed vocals to the track), and edited by frequent collaborator Danny Scales.

    On All That’s Solid Melts Into Air Devon Church veers sonically and politically leftward. Taking its title from a famous Karl Marx quote – “All that is solid melts into air, all that is sacred is profaned” – Church’s third album contemplates the corrosive effects of 21st century capitalism – impending climate doom, skyrocketing wealth inequality, the predations of the so-called ‘attention economy’, genocide and the specter of world war – and their hallucinatory effects on our collective and individual psyches.

    If Church’s sophomore album, 2023’s Strange Strangers, invited listeners to view Death of a Ladies Man-era Leonard Cohen through a psychedelic indie pop prism, his latest offering takes some of it’s dystopian lyrical inspiration from 80’s Cohen classics like “First We Take Manhattan,” and “Everybody Knows.” The album’s sonic palette however, is diverse, and decidedly low fidelity. Sounding as if they were recorded by a lone eccentric in a smoky, wood paneled basement in 1984 (or in some post-digital future), wobbly analog synths, harmonium, digital tamburas, primeval 70’s drum machines, and painstakingly orchestrated surf guitars all blend together with Church’s laconic baritone on these saturated four track cassette recordings.

    ‘All That’s Solid Melts Into Air’ Tracklist

    'All That’s Solid Melts Into Air' cover.
    ‘All That’s Solid Melts Into Air’ cover.
    1. All That’s Solid Melts Into Air
    2. Nothing Sacred
    3. Fall Like Lightning
    4. Hungover In The World War
    5. Everything Shivering
    6. Lilies
    7. The Lives Of Poets
    8. Porcupine Shuffling
    9. Working Class Zero
    10. Trembler

    Church’s references are wide-ranging, both musically and lyrically. The album’s title track, a song about staying true to the ones you love while the world falls apart, is a woozy synth and CR78 anthem, desecrated by fuzzed out guitars that recall the VU and Eno’s “Needle in the Camel’s Eye.” Another standout track, “Fall Like Lightning,” attempts a kind of “Subterranean Homesick Blues” for dejected denizens of the internet. A lyrically dense diatribe against social media and platform capitalism set to a crackling breakbeat, it seems to belong somewhere in Northern England circa 1997 while making its extremely topical argument. ‘Is there no alternative, is this how we were meant to live? A price on every molecule and subatomic particle…’ he sings, recalling Margaret Thatcher’s inauguration of the neoliberal counter-revolution and the subtitle of Mark Fisher’s book, Capitalist Realism. The lyrics do attempt to answer this riddle. The alternative is to collectively turn away from the digital spectacle that has monetized everything but our dreams (so far) and take action – to ‘shit out’ the billionaires (‘Zuckerberg, Bezos, Thiel, Ek, Musk / they filled our beggars cups with dust’) through the black hole in the center of the galaxy. By way of casting out our demonic tech oligarchs, Church quotes another champion of the poor, Jesus of Nazareth, in the choruses; ‘I see Satan fall like lightning’…

    “Hungover in the World War,” meanwhile is a wistful, meditative folk song, whose fingerpicked acoustic guitar and deep, world weary vocals might put one in mind of Blaze Foley if it weren’t for the ominous droning of a tambura and the occasional eruptions of nervously trilling Godspeed! You Black Emperor-esque guitars that somehow evoke the titular ‘world war’. “Lilies” is a Louvin Brothers-style country gospel song invoking socialist revolution. Dense with biblical imagery, slide guitar and the otherworldly trills of an omnichord, the track is propelled by the ‘Swing’ setting on Church’s trusty Korg SR-120 drum machine. Indeed, some of the idiosyncrasies and genre shifts on the album may be reducible to the different presets on that primitive rhythm machine. For example, Nothing Sacred is a surrealist ‘tango’ exploring the mind-virus of right wing ‘red-pilling’ and the derangement of the chronically online that somehow sounds like it should be playing in a resistance speakeasy in WW2 Paris, or in an alternate universe.

    Not all the songs are political, but they all reflect Church’s particular obsessions. “Porcupine Shuffling” is a stream of consciousness ode to the Tantric Buddhist meditation deity Vajravarahi, propelled by an explosive 909 beat, angry guitars and the pulsating bass arpeggio of a Juno 6 synth. The lyrics are packed with literary references ranging from the Old Testament to James Joyce to, once again, Marx, all while circumambulating the mysterious central image of a porcupine in the moonlight. “Everything Shivering” conjures, via the Marc Ribot-like lead guitar line, drenched in tremolo, the feeling of a frozen night walk in -30 degree Winnipeg, Church’s hometown. ‘The moonlit trees like nerve endings, everything shivering’, Dylan’s “Visions of Johanna” warping and slowing as the cold overwhelms the AA batteries in his walkman. Another odd little artifact, ‘The Lives Of The Poets,” enumerates the lives (and more specifically, the unusual deaths) of four of Church’s favorite writers, over a soundtrack of late-Soviet synth pop and the tortured dissonance of his beloved Fender Jaguar. ‘Trembler’, a slow and unexpectedly operatic post punk meditation, returns to one of Church’s favorite themes, mortality, as the song’s narrator visited by an angel who explains the origin, end, and eternal recurrence of the cosmos while waiting at a bus stop on another frigid night in Winnipeg.

    Born in Winnipeg and based in New York City since 2009, Devon Church co-founded the critically acclaimed (now disbanded) dream pop duo, Exitmusic (Secretly Canadian, Felte). Since 2018 he has been releasing solo music, marrying a love for thoughtful, poetic songwriting to his textural, idiosyncratic DIY production style.
    J.J. Snowden

    LINKS:
    https://www.facebook.com/wearedevonchurch/
    https://www.instagram.com/wearedevonchurch/
    https://www.youtube.com/@devon-church
    https://devonchurch.bandcamp.com/
    https://linktr.ee/devonchurch

    Romeopathy – Alone

    By
    Editorial Team
    -
    Romeopathy
    Romeopathy

    Romeopathy “Alone” dives straight into the heart of emotional isolation with a raw and unflinching honesty that defines the UK alt-rock and grunge scene. Blending haunting melodies with gritty, layered guitars, Alone feels like a late-night confession set to distorted beauty.

    The track exposes the cracks we hide behind humor, bravado, and noise, a self-aware confrontation with the loneliness that creeps in when the lights go out. Lyrically, it’s intimate and revealing: an acknowledgment of destructive cycles and the quiet wish to change, even when the path forward is unclear.

    Romeopathy’s approach to songwriting strips everything to its emotional core. They’ve always championed the art of not taking themselves too seriously, but with Alone, they let the mask slip just enough to show something deeply human. It’s vulnerable, moody, and compelling, a sonic mirror held up to the mind’s quiet corners.

    Fans of Foo Fighters, Bush, and Smashing Pumpkins will find a familiar pull here, but Alone stands firmly in its own lane, balancing brooding introspection with the cathartic punch of UK-driven alt rock.

    About Romeopathy

    Romeopathy pride themselves on not taking themselves too seriously, which gives them plenty of time to craft captivating live shows filled with dynamic riffs, solos, melodies, and (intentionally bad) jokes. Drawing inspiration from a wide range of genres, their sound blends heavy alt-rock riffs with bluesy melodies, hints of Midwest emo, and a dash of 90s grunge. As they gear up for a tour, Romeopathy aim to spread their music far and wide, hoping to win over new fans and share the love along the way.

    SOURCE: Official Bio

    LINKS:
    https://www.tiktok.com/@romeopathy
    https://www.instagram.com/romeopathy_/
    https://www.facebook.com/RomeopathyMusic
    https://www.youtube.com/channel/UC3tzQdNUdNFf8YHV-VNGrcQ

    Mel Denisse – going nowhere

    By
    Editorial Team
    -

    Mel Denisse is a genre‑bending artist‑producer whose songs land between raw guitar grit and left‑field pop. First hooked on her dad’s acoustic at ten, she spent her teens recording demos in cracked software and, by eighteen, hustled onto a Myspace‑era tour.

    Years ping‑ponging between Nashville and L.A. sharpened her writing and production: warped alt‑rock beds under ethereal, classically tinged vocals, spiked with the Eastern scales she soaked up while splitting childhood between Florida and Turkey. Lyrically, she digs into duality, obsession, and the tug‑of‑war between self‑preservation and self‑destruction.

    Influenced by everything from Failure and Deftones to Tori Amos, Mel chases what she calls a “controlled collision.” Her voice drifts like smoke, then snarls and cracks on the next beat while jagged guitar loops pulse beneath. “I like to ‘frankenstein’ a track,” she says. “If a heavy riff and a delicate melody look wrong together on paper, that’s exactly what pulls me in.”

    Her latest single “Going Nowhere” is a melancholy alt-rock/shoegaze track inspired by the fantasy book ‘The Serpent & the Wings of Night’ (by Carissa Broadbent). With a nostalgic and reflective atmosphere, it ties to themes like survival by staying unseen, loyalty vs. self-preservation, and trying to move forward with nowhere to land. Her new music overall has crossovers with fantasy books and is a large part of her writing, especially on her upcoming highly anticipated EP due early 2026.

    Previous releases earned spins on BBC Radio 1’s Alternative Show, placement on Spotify’s All New Rock, and tastemakers from Vanyaland praised the “reckless ambition of ’90s guitar‑rock grit,” while Wolf in a Suit called her debut “hypnotizing… bound to find a home in the deepest corners of our souls.”

    When it comes to personalizing the music for her fans: “If the song makes you feel a gentle gut-punch–that’s the point,” she says. “I’m slipping mirrors into the track so you have to sit with whatever stares back.”

    In the studio, she’s worked with Carlos de la Garza (Paramore, Best Coast), Ken Andrews (Paramore, M83) , Micah Tawlks (Hayley Williams, Noah Kahan, Ashe), and longtime collaborator/producer Stephen Laurenson. Off the clock, you’ll catch her streaming marathon World of Warcraft sessions or disappearing into fantasy novels.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/meldenisse

    Olovson – Untangle

    By
    Editorial Team
    -

    Following the success of his debut album Storytelling, Swedish-born, LA-based composer and producer Olovson returns with a powerful new statement: ‘Untangle’, the title track from his new album, dropping via 1136 Diamond. The first single released off the album, ‘Things I Could’ve Left Behind’, already received support from the esteemed NPR Music, KCRW and KEXP 90.3 FM.

    Known for his emotive piano compositions and Grammy-winning productions for artists like Frank Ocean, Dua Lipa, and Mark Ronson, Olovson now opens a more personal chapter — with his own voice at the center for the first time.

    ‘Untangle’ is restrained yet resonant — a piece driven by deep, pulsating sub-bass, the quiet rhythm of footsteps, and Olovson’s delicate, intimate and effortless falsetto. The track unfolds like a meditation, filled with emotional contrast — shadow and light, grief and release.

    “This song is about untangling the emotions and patterns you carry — and realizing you’re allowed to let go — and coming out on the other side feeling more at peace,” says Olovson.

    This is the second single following his 2022 debut album Storytelling, which gathered 3 million streams across platforms, and received praise from Rolling Stone India, Wonderland Magazine, CLASH, PopMatters, BBC Radio 6, NTS, and more. His track ‘Books Are Flying’ was featured in the SHOWTIME series The Man Who Fell to Earth, while the visual for ‘Gyroscope’ was nominated at multiple BAFTA-qualifying film festivals including Encounters, London Short Film Festival, and LIFA.

    With ‘UNTANGLE’, Olovson expands his sonic palette — introducing a bold vocal presence while preserving the cinematic sensitivity that defines his sound. Fans of James Blake, Sampha, and Blood Orange will feel at home in this evolving space — where raw emotion and precise production quietly collide.

    The result is a track that feels both deeply personal and widely relatable: the quiet sound of transformation.

    SOURCE: Official Bio

    LINKS:
    https://www.olovsonmusic.com/
    https://instagram.com/olov.son
    https://www.facebook.com/olovsonmusic/
    https://www.youtube.com/@olovsonmusic
    https://open.spotify.com/artist/76Jm6htPOTUvyERsqLWc9s

    Greenness – Psychopomps

    By
    Ryan Martin
    -

    Greenness has today premiered their new video and track titled ‘Psychopomps’, from their upcoming sophomore album ‘Honeymoons’, dropping November 14th via via One Fern Records.

    Well, you learn something new every day. I just found that ‘psychopomp’ (ψυχοπομπός, psychopompós) is Greek for creatures, spirits, angels, demons, or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife. Listening with that in context, the song takes a new meaning, for me. And, it lends more credence to the music and instrumental choices as well. Having said that, this is a deeply beautiful song with a video that adds texture to the story and flavor for the soul.

    Greenness are obviously a band that makes their music around lyrical poetry, but with ‘Psychopomps’, that poetry has a more meaningful depth and finality that some of us embrace and most of us fear.

    About Greenness & ‘Psychopomps’

    Psychopomps is a driving and dramatic exploration of transition and mortality, blending art-rock energy with folk and orchestral flair. The track is propelled by powerful guitar and cello riffs, showcasing the duo’s taste for lavish, intricate arrangements and dramatic lyrical themes. It is no coincidence that the song is coming out just before Halloween.

    “Psychopomps is a pivotal track for us,” explains lead singer and songwriter, Cess. “It’s a mythological reference to soul-guides, who escort the dead to the other side. These spirit creatures exist in many cultures and legends, where humans often try to negotiate with their psychopomp to buy themselves more time, as of course, they’re not ready to meet their death. Reading about these tales inspired the song’s story and lyrics, at a time when death felt close by.”

    The track is an integral part of Greenness’ highly anticipated sophomore album, Honeymoons (out on 14th November 2025), which sees the duo expanding their sound by opening the doors of their home studio to a talented selection of session musicians for the very first time.

    Guitarist and producer Graham, who arranged, mixed and mastered the record, adds, “We treat our singles as complete visual and audio statements. As such, Psychopomps comes with a cinematic music video shot by Marain Visuals with assistance from award-winning creative Rona Walter DeToriani, starring aerialist Naomi Wood as the psychopomp. We filmed the video with our backing band at the A L P H A B E T venue in Brighton, which is where we will be hosting the album launch party, with Naomi Wood as the opening act. Also joining us on the bill are singer-songwriter Charlie O’Connor and The Coven Choir, plus a DJ set from our bassist, Dom Hall. It’s going to be a very special show!”.

    Honeymoons will be released digitally across all streaming platforms + on limited edition CDs, vinyl and digital download via Bandcamp (pre-orders are live) alongside an online listening party on 14th November.

    LINKS:
    https://greennessmusic.com
    https://greenness.bandcamp.com
    https://www.instagram.com/greennessmusic
    https://www.facebook.com/greennessmusic
    https://www.threads.com/@greennessmusic/
    https://www.tiktok.com/@greennessmusic

    An Exclusive Interview with Chimehours + New Album ‘Underneath The Earth’

    By
    Ryan Martin
    -

    Jammerzine has an exclusive interview with the duo Chimehours as well as a test drive of their new album, ‘Underneath The Earth’, which is out today.

    ‘Underneath The Earth’ is a snapshot of lives that have come together to create beautiful and original music for the masses with the heart and soul in mind. Creating lush soundscapes and beautiful melodic tapestries, each track on ‘Underneath The Earth’ feels like a story that you can relate to, encompassed by music that captures the essence of the subject and takes you on a journey into different parts of your soul.

    Someti9mes music is therapeutic. ‘Underneath The Earth’ shows that it can also be that sweet caress that we all need. Inspirational as an invitation.

    And, in this interview, we get to talk with Beck Goldsmith and Jon Dix, the collaborative minds and muse behind Chimehours, about ‘Underneath The Earth’, their beginnings and how they create such music that soothes the tired minds and hearts with a new vision of heart and hope meant to show you that there is more in this world than what gets you down.

    About Chimehours & ‘Underneath The Earth’

    Chimehours are a collaborative effort of Beck Goldsmith and Jon Dix who had already worked together on several indie folk releases in the past teaming up right now to create a new musical project in which they could express their shared love for folk horror, ghost stories and supernatural. “We wanted to do something that musically spoke to those influences and allowed us to explore the themes they raise – nature, folklore, time, community, and a sense of the uncanny,” recalls Beck.

    The album concept took shape after a candlelit reading of Max Porter’s ‘Lanny’ one Burns Night. Jon explains, “The themes and setting cemented our ideas and gave us a specific focus, and we imagined ourselves writing a soundtrack to the book, or to an imagined film of the book. From there, the songs came together at their own pace and distance”.

    Inspired by ethereal minimalism, retro cinema and folk narratives, Chimehours craft a sonic palette reflecting on the pressures of modern life and the desire for reconnection with the natural world. “The idea of a lost child’s connection with a Green Man-style character in the Lanny book also finds itself in the premiered single.” Beck clarifies, “With Underneath the Earth, we wanted to capture this complicated relationship with nature and the sense of something calling to us from somewhere else – an ‘otherness’ that exists just outside of what we know and understand. Something old and eternal and familial, and at the same time unsettling”.

    Written and produced between Derbyshire, London and Margate during lockdown and beyond, the album incorporates drones, drums, gritty guitars merging with woodwind, strings and voice textures that resist clear linearity. “We started to get bigger and bolder in our approach, and it was fun and mysterious and compulsive to bring it all together (as though other forces were at work…),” shares the duo.

    The result is a balanced blend of naturalism, tonal clarity, and experimental sonic tension. ‘Underneath the Earth’ explores how the themes of life and existential suffering characterise every human being. “The album explores how the cycle of life and our place within nature is primal and relentless, and ultimately connects us back to the earth,” says Beck. “There is darkness and beauty in that.”

    Featured images by Tim Topple.

    LINKS:
    https://linktr.ee/chimehours
    https://www.instagram.com/chimehours.band/
    https://chimehours.bandcamp.com/
    https://www.youtube.com/@chimehoursband

    Gary Parker and Blue Horizon – Tristesse

    By
    Ryan Martin
    -
    Gary Parker and Blue Horizon - Tristesse
    Gary Parker and Blue Horizon - Tristesse

    Gary Parker and Blue Horizon have released the new EP titled ‘Tristesse’. A sheer departure from Gary’s other focus, x-blu, focusing more on the pop elements and mainstream calibration, however, there is still that original feeling and focus that true independent artists convey and confess.

    With a solid spotlight on the guitars and hook, Gary Parker and Blue Horizon takes what was written and makes it so in such a fashion that you can’t help but hear the atmosphere and feel the creativity. Five songs of sonic landscape and an originality that is signature.

    About Gary Parker and Blue Horizon

    This is Gary’s second EP and this 5 track EP. Gary also founded the London indie band x-blu regularly featured on Jammerzine, his solo work encompasses a range of other songs and sound textures, very different to x-blu. Working with sometime x-blu producer Dave Fennessy at Folkestone Studios, in Kent, England, they have produced a soulful set of songs, with keyboards and acoustic guitars more prominent.

    Gary said ‘I wanted to produce a sound that was radically different to x-blu but with songs of an equally high quality, which reflect the era that we live in, particularly big city life, in cities like London, New York and Paris, using a range of moods and sound textures to illustrate this’.

    LINKS:
    https://www.bluehorizonlnw.com
    https://bluehorizonlnw.bandcamp.com/

    Scenius – 13 Billion Dark Years

    By
    Ryan Martin
    -
    Scenius
    Scenius

    Scenius has today released their new album ’13 Billion Dark Years’. Darkly electronic with a musical message that lets you know that Scenius are more than a band, duo, or simple music project. There are layers upon layers within a box holding a universe of possibilities here. Take from that what you will here but, there is a substance within ’13 Billion Dark Years’. Something that demands attention, from curiosity as much as admiration.

    Part audio atmosphere and part pop sensibility, there is signature within that substance that feels with hooks and hoopla amid the rhythm of the processor. Electromagic at a new level.

    About Scenius

    Scenius is an Anglo-French dark synth-pop duo formed by UK producer Steve Whitfield, based in Leeds, and singer Fab Nau, based in Angers, France.

    The two share a passion for vintage synth sounds from the pioneer era (Kraftwerk, Brian Eno, John Foxx), the post-punk spirit of icons such as Joy Division, New Order, and The Cure, and the modern approach to electronic production brought by bands like LCD Soundsystem and Boards of Canada.

    Scenius’ distinctive sound is defined by the use of vintage synthesizers and drum machines: no guitars, live drums or sampling.

    Praised by critics for their atmos pheric textures and emotional depth, their first two albums, Enough Fears (2020) and Life Is A Thing (2023), have received consistently enthusiastic reviews and worldwide airplay in both the synth-pop and darkwave underground scenes. The band has also released several non-album singles and remixes for or from acts such as Nature of Wires (UK), Promenade Cinema (UK), BlaKlight (US) and Lowpkin (FR).

    Initially a studio project, Scenius have since become a live act, launching a series of gigs in France and the UK in 2022, and opening for icons The Mission in 2024 at the invitation of the band’s leader, Wayne Hussey.

    Their third album, 13 Billion Dark Years, finds the duo exploring more spacious arrangements and simpler song structures. This approach gives greater room for the vocal melodies to flourish and for the listener to step in. Shorter tracks, uptempo rhythms and syncopated grooves also make for a record that feels more accessible than its predecessors, while retaining the duo’s signature dark edge.

    In cosmology, the Dark Ages refers to a period of darkness in the early universe that ended when the first stars ignited and began to spread light across the cosmos. The album’s title plays on the slightly cheeky idea that, some 13 billion years later, these dark times may still be with us.

    After all, there are still many stretches of shadow in which we find ourselves waiting for the light to break through.

    LINKS:
    https://www.facebook.com/sceniusband
    https://www.instagram.com/scenius.band
    https://scenius.bandcamp.com

    David J & The Resistance – ICE Too Cold To Thaw

    By
    Editorial Team
    -

    Assembling a veritable and impressive collection of artists and musicians, including visual artists Shepard Fairey and Tomo77, who created the front and back artwork, Ulises Bella (Ozomatli), Jason Roberts (Spoon), Rob Kaechele (DJ K), Slim Zwerling (Slim Zwerling & the Yums), Justin Carl Perkins (Mystery Room Mastering), among others, David J has united them for his groundbreaking single “ICE Too Cold To Thaw.”

    The limited edition and autographed 7” single will be released on ice blue vinyl with two tracks: “ICE Too Cold To Thaw” b/w “ICE Too Cold To Thaw (Sad Jazz version)”. It will also be available in a bundle that includes the 7” single plus an authorized numbered print, autographed by both David J and Shepard Fairey.

    “Like a psychedelic town crier screaming, ‘hear ye hear ye,’ David reminds us of the folly of repeating history,” says Ozomatli’s Ulises Bella who plays baritone and alto sax on the single. “To me, the song is a call to arms to all artists and musicians to combat the casual fascism that Trump has unleashed with ICE terrorizing communities. We must stand together!”

    Lyrically provocative and poignant (A mother and her babies / Cruelly torn apart / And carted off to God knows where / It’s enough to still your heart), the song is a call to arms to end the brutality. “I’ve been an eye witness to this outrage happening in LA,” says David J. “I’ve seen the brutality and resulting devastation first hand. It’s highly disturbing and heartbreaking. Something has to be done!”

    American contemporary artist, activist and founder of OBEY Clothing, Shepard Fairey joined David’s crusade by creating the powerful cover art of a fascistic cop pointing an accusatory finger, an image that burns in the minds of those arrested, detained and, in many cases, deported. “The United States was founded by immigrants fleeing oppression or simply searching for a better life,” Shepard explains. “The vast numbers of immigrants have made the ‘melting pot’ of the U.S. beautifully diverse culturally. Immigrants from around the globe, not racial or cultural homogeny, make America great. No human, documented or otherwise, deserves to be terrorized by the masked thugs of ICE. I’m pro-human rights and pro-justice so I’m proud to be part of this project!”

    The accompanying video depicts an unattended ice cream cart, once manned by Ambrocio “Enrique” Lozano, a beloved neighborhood ice cream vendor for Culver City, CA who was brutally tackled to the ground and detained by ICE agents on June 23, 2025. The incident was covered in news broadcasts that were televised internationally. Now a symbol of the oppression and resistance to those fighting the current ongoing violence inflicted by ICE agents, the video depicts the little ice cream cart as it travels unattended through different politically charged international locales, interspersed with brutal news footage.

    Video director Tony D explains, “As a young Mexican artist living in a border city, the scenes coming out of Los Angeles and all of the U.S. have shocked me. However, art can unite and serve as a weapon against injustice. I’m glad I got to work on David’s song, because in moments like these, artists shouldn’t remain silent. It is our duty to call out the injustices that occur in the world, and it is also our duty to find hope. The song represents these two very important values: resistance and hope.”

    Released on No Devotion Records which is based in Mexicali, Mexico, the threat of ICE is direct and personal, as it is Mexicans who are most often targeted. “Every single person harassed, humiliated, tortured, separated and incarcerated is my brother and sister. This goes beyond bloodline,” says CEO / Founder Mario Cabada. “This is a cultural and social catastrophe that involves all of us, regardless of your race, sex, religion or political profile. The humanization and togetherness that music brings us all may help to heal the wound.”

    Concludes David J, “I’ve been witnessing the ongoing fascist horror of what is happening on the streets in the USA with these ICE oppressors, kidnapping good hardworking people especially in my adopted hometown of Los Angeles. The potential impact of this song may only be a drop in the ocean, but that ocean is made up of drops as is a tidal wave! Bring it on!”

    Featured image by Angel Enciso.

    SOURCE: Official Bio

    LINKS:
    https://davidjhaskins.com/
    https://www.davidjofficial.bandcamp.com/
    https://www.instagram.com/davidjhaskins

    Nihilanth – Ruin (Ft. If It Bleeds)

    By
    Ryan Martin
    -

    Nihilanth has today released their new video and single titled ‘Ruin’, featuring If It Bleeds from their upcoming EP set to drop in early 2026. Loud, proud, with enough droptune to put that sonic tickle in your pickle, Nihilanth devastates and penetrates that dark part of your soul with enough force and fissure to tear said soul apart.

    This type of dark metal is hit or miss with me. Sometimes, some bands do it in such as way as to feel like a parody. Nihilanth hits all the feels, however, with deep nots and growling vocals that sound authentic at it’s core. And, while the music has that authenticity that takes it to the very end with meaning and muse, the best part is that the song has a filling sensation and a sense of purpose that gives credence and clarity to a song from a family of musicians with a purpose.

    About Nihilanth & ‘Ruin (Ft. If It Bleeds)’

    Belfast-based metal force Nihilanth are back with their brand-new single ‘Ruin’, marking their first new music since the breakout success of ‘The Valley Beneath’.

    The track offers a dark and introspective glimpse into the band’s forthcoming new EP, due for release in early 2026.

    Following a whirlwind year that saw Nihilanth win Metal 2 The Masses Belfast 2024 and perform to a packed crowd on the New Blood Stage at Bloodstock Open Air, the band have wasted no time channeling that energy into their next creative chapter.

    Their previous single, ‘The Valley Beneath’, which received airplay on BBC Introducing with Alyx Holcombe, helped the band make their mark as one of Ireland’s most promising new heavy acts.

    Speaking about the new single, the band comment:

    “‘Ruin’ is a song about battling inner demons, self-destruction and deprivation. You can be your own worst enemy, but even when you’re in the darkest of mindsets, we still have the capacity and realization that all is not lost.”

    Formed during the summer of 2021, Nihilanth quickly established themselves within the Irish metal scene through their crushing live performances and debut EP, Destroyer of Worlds, released on March 17th, 2023. With ‘Ruin’, the band elevate their sound further, blending atmosphere, intensity, and emotional depth in a way that feels both cathartic and devastating.

    LINKS:
    https://www.facebook.com/Nihilanthriff
    https://www.instagram.com/nihilanthriff/
    https://nihilanthriff.bandcamp.com/track/the-valley-beneath
    https://nihilanthriff.bandcamp.com/album/destroyer-of-worlds

    August Kamp – Un(familia)rity + Q&A

    By
    Editorial Team
    -
    August Kamp
    August Kamp

    Los Angeles-based musician and creative technologist August Kamp (she/her) continues to redefine the edges of electronic pop with her new single ‘Un(familia)rity’, a deeply evocative follow-up to her shimmering groove-driven track ‘Sugarize’. The song blends intricate sound design with emotional depth, unfolding as both an introspection and an inquiry, a study of humanity through the lens of the machines we build and the systems that bind us.

    Kamp, a trans artist whose multidisciplinary work bridges sound, technology, and visual art, lives and creates in an off-grid botanical garden, her tiny home studio filled with humming machines, vintage encyclopedia clippings, and Polaroids of imagined worlds. This environment mirrors her creative ethos: a belief that nature and technology are not opposites, but reflections of the same living system.

    On ‘Un(familia)rity’, August fuses organic and algorithmic textures to produce what she describes as a “book of I-Spy for your ears.” Layers of harmonies and glimmering synths create an atmosphere of synthetic nostalgia, simultaneously intimate and uncanny, yet grounded by a core of unfiltered sincerity that grows more luminous as the track progresses. It feels like a petri dish and cross contamination of the most experimental side of Bon Iver, blended with the pop leaning side of Oneohtrix Point Never.

    She shares “It’s a song about humanity and our desire to understand each other and be understood by each other. And it’s ultimately about the machines that we created and how they could bring us together, and they often do bring us together, but that they also very often serve to keep us apart.”

    The single marks another evolution in Kamp’s ever-expanding discography, which spans six years, four EPs, and ten albums. Her upcoming full-length project, ‘reconnecting.everything’, is set for release on November 7th, and promises to further explore her signature blend of experimental electro-pop and emotional storytelling.

    With ‘Un(familia)rity’, August Kamp once again proves herself a vital new voice in modern electronic music, a creator deeply attuned to the circuitry of both emotion and innovation.

    Q&A

    Do you feel LA influences your writing?

    absolutely – i think it’s always one or two layers down in terms of what i’m talking about in my lyrics. LA is a really good place to observe the overlap between spaces that are “too dirty” (by which i mean, genuinely neglected) and places that are “too clean” (by which i mean, the nature has been eradicated except for where it’s been permitted to stay).

    living specifically in northeast LA sorta feels like there’s always something really good happening a few meters away from something really bad. in my neighborhood, there’s these massive luxury homes just a few hundred feet up the hill from an encampment of unhoused folks – these people are neighbors, literally. but the people in the homes go to such great lengths trying to avoid reckoning with that reality.

    housing is an incredibly important issue to me, and LA is such a prime example of every way our species has strayed from the light in that regard. the people who live safely in the big comfortable homes are the ones who complain about feeling scared. the people with everything to lose are the ones seen as “dangerous”, when in reality – they experience orders of magnitude MORE danger than their neighbors up the hill.

    the people in the houses overwhelmingly oppose the development of new housing (especially apartment buildings, or anything affordable) and yet they will complain to the police about feeling “uncomfortable” walking past the encampments. occasionally the police will come and tear the encampments down. i don’t think anyone seems to understand that they’re having their neighbors houses torn apart.

    if anything is uncomfortable, it’s having one’s house destroyed.

    my song un(familia)rity, and indeed my entire forthcoming album, are both very very much about this type of juxtaposition.

    Talk about your botanical garden/studio, that sounds really interesting.

    it is ! it’s beautiful. it’s a safe place to be, and to create, and to grow. more than i could ever ask for. i have a tinyhome studio which i will attach some images of.

    the garden is a multi-level plot of land that my family bought a few years ago with the last of our money, we could only afford it because it was a dirt lot.

    actually – according to the city of la – it’s still just a “dirt lot”. i’ll attach a picture or two of the garden itself, just to illustrate how silly that classification is.

    my mother was the first to live here. she built a tiny home (which is illegal to do oneself, because LA’s building codes are unimaginably prohibitive) and soon after, we built one for me too. we’re almost done setting up a third tinyhouse for my grandma to live in.

    if we had gotten these structures permitted, it would have cost $325,000 dollars just to build the concrete foundation the city requires. we opted to do it ourselves, and each of our tinyhome structures cost just around $15,000.

    my mom also spent years salvaging plants from the side of the road, as well as having some given to her by kind neighbors. these days, the parcel is happy and green and full of color and life.

    living here feels like almost an ideological middle ground between the encampments down the hill and the houses farther up it. we don’t have grid-electricity or hot water, but we do have solar power, and we do have cold water and a small stove with which to heat it.

    it feels like existing on the edge of two adjacent worlds that constantly collide, and my music is an exploration of those collisions.

    Would you call yourself something like a techno-humanist, with the way nature and technology find balance in your music?

    i like that term ! i really haven’t found much existing language for my system of belief to be honest.

    i see the world how i do, and i describe things as i see them – but i eventually deviate from every system of thought i find use in.

    i believe in what i feel is true, and oftentimes that feeling of truth fails to be classifiable.

    a tree is a type of machine, a computer is a type of plant. a human is certainly both.

    everything is a person.

    How layered is your production, and would you consider your recordings ‘maximalist’? The music has a lot of depth while still sounding clear.

    in the case of un(familia)rity, it’s absolutely extremely layered. my personal strategy with music production is to just keep doing things until i have genuinely lost track of what’s going on. there’s something very freeing in that – because i can stop judging the song by the pieces that make it up – it’s more like an ecosystem at that point.

    once i lose track, i can observe the song exactly how i would observe any other piece of nature. i love being out in the world because there’s no way to keep track of all the moving pieces. you have to accept it as a whole system that extends farther than you can see as an individual.

    there’s something very romantic about that, to me. it’s less ego-stained. i would never look at a bluebird and subsequently perseverate about what color it should be. why would i ? its nature. it is exactly what it is. i don’t like to apply that type of arrogance to my music either. it is what it is, and it will be whatever it will be.

    sometimes i get very lucky, and a song will grow into its mature form and i’ll feel it say to me “put me down now, i am done growing. i have become what i am”. that happened with all of the songs on this forthcoming album, and that’s why it’s finally coming out now 🙂

    Your quote about the music talks about the “machines we created” as humans, are these also societal or social machinations you’re referring to?

    i hadn’t really thought about that ! i’m inclined towards a big YES. we have automated almost everything in this world, including ourselves. i don’t necessarily see that as an outright bad thing in principal – the world has been self-automating for billions of years – but i do think humans are a uniquely irresponsible organism in our approach.

    capitalism totally screws up the balance of value in the world. i think if we used our human gift for automating things in a way that disavowed capitalism, we could see the world heal at a rate that is completely unheard of.

    part of why i am so unwilling to dismiss AI (as many other artists do) is because i adamantly reject the notion of someone good abandoning a potentially useful tool just because someone bad has also used it.

    i want to use computers to heal the earth, and i think we genuinely can. i think pretending that we can’t is lazy, and misguided. i understand it’s frustrating to see such a powerful technology used for capitalism, but i feel the same way about how music is used for capitalism. or art. or fruit. or animals.

    capitalism has everything good enslaved, but that doesn’t mean that those things are appropriate scapegoats for our anger at their enslaver. a cow doesn’t support the beef industry because it wants to. it is being forced to. i see computers, tools and AI the exact same way.

    targeting anything other than the root cause of all this pain seems like it just keeps the world ailing for the sake of feeling right about something, or worse – for the sake of excusing our urge to lash out at each other. it’s time to be more strategic than that.

    -Your discography is deep, is writing and creating just a part of who you are?

    hehe yeah honestly, i have been extremely prolific at everything i have ever done for my entire life, but music is the poster-child of that tendency.

    my catalog of songs is like a diary i can revisit for the simple sensory joy of hearing each entry again. music is powerful in that way – it helps me keep the time as my life unfolds. it’s like having thousands of little time-capsules containing the sense-memory essence of exactly how i felt at different moments throughout my life.

    Lastly, talk about your upcoming LP. What are you most interested or excited about?

    reconnecting.everything is like my version of the voyager’s golden record. i think in any other interview setting id be giving a long answer to this question – but given how inspired ive felt answering all of these so far, im inclined to politely ask that we chat again about this closer to the record coming out in early november.

    these questions have been really wonderful invitations to all kinds of new growth in my mind, so i’d honestly love to dive into the full album track by track if you guys would be open to that in a couple weeks.

    thanks again so so much for the time and the questions.

    August Kamp - Un(familia)rity + Q&A
    August Kamp - Un(familia)rity + Q&A
    August Kamp - Un(familia)rity + Q&A
    August Kamp - Un(familia)rity + Q&A
    August Kamp - Un(familia)rity + Q&A
    August Kamp - Un(familia)rity + Q&A

    LINKS:
    https://www.instagram.com/august.kamp
    https://open.spotify.com/artist/3KJuH3NPiNzXP39VpP8zH4
    https://youtube.com/@augustkamp

    Testament – Seek & Destroy

    By
    Ryan Martin
    -

    Testament has today released their new video for their cover of Metallica’s ‘Seek & Destroy’, from the upcoming tribute album ‘No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All’, featuring Tailgunner, The Almighty, SOEN, Tygers Of Pan Tang, David Ellefson, Motörhead, Saxon, Diamond Head, and Testament, dropping November 14th via Silver Lining Music.

    As legendary as Metallica is, it’s rare to be so legendary that you get a tribute album dedicated to your debut album that features nothing but other legends. Metallica did that rare feat of taking metal to the masses and making it mainstream. And, as bad as that word ‘mainstream’ may sound, it’s a good thing to shine a light on a genre that deserves and demands that attention.

    Testament strays just far enough from the original to give it a slight update with the mix and master while staying true to form and function to the original. And yet, it’s unmistakingly Testament. To me, Testament is every bit as relevant as Metallica. They come from the same era of metal. Yet both bands are distinct in style and originality. Both could share the stage and one could argue as to who would headline, but, in the end, there are nothing but masters of metal on ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All’. This is not a tribute; it’s a reminder.

    About ‘No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All’

    You can divide the history of heavy metal into two distinct chapters: “before Metallica” and “after Metallica.” When the Four Horsemen galloped to the top of dozens of countries’ charts with their self-titled album in 1991, they became the new measuring stick for their genre, and their standard is one that no hard rockers since have matched, let alone outdone. Yet for all the sellout tours, broken records, and reinventive efforts over the last 45 years, they started the same way almost every other noisy band do: ferocious kids driven to shove metal up your ass.

    No Life ’Til Leather – A Tribute To Metallica’s Kill ’Em All unites Metallica’s favorites, their peers, and the generations that came next. The influence that the likes of Diamond Head and Saxon had on thrash’s giants has been well-documented. Meanwhile, Testament forged their careers in the California metal trenches alongside the band – so it’s only fitting they appear on this compilation, delivering an explosive rendition of the track that has been igniting crowds since day one.

    “We had fun covering Metallica’s song ‘Seek and Destroy,’” comments long-standing member and vocalist Chuck Billy. “Songs like this started a movement!”

    No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All is a colossal celebration of the most propulsive debut album in heavy metal history, reimagined by the legends who inspired it and the generations that came in its wake!


    The veteran likes of Saxon, Diamond Head, and Motörhead (three of Metallica’s favorite bands), are joined by rising stars such as Tailgunner and Swedish prog metallers Soen to create a who’s who of heavy music, with each performer lending their unique sound to one classic track. Contributions from thrash giants Testament, ex-Megadeth bassist David Ellefson, and New Wave Of British Heavy Metal linchpins Tygers Of Pan Tang show the label looking beyond their own artists to amass the greatest lineup possible. Joining the super star lineup are the legendary Raven (closing with the thundering anthemic “Metal Militia”) who were part of Metallica’s first-ever tour, 1983’s famous Kill ‘Em All For One venture.

    The first single, “The Four Horsemen,” a particularly confrontational cover by hard rockers The Almighty, which propelled the band to go back into studio for the first time with the founding line-up since 1991, is out now.

    No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All is an ambitious achievement worthy of Metallica’s game-changing legacy. By the fans and for the fans, it reaffirms the Four Horsemen’s ironclad status.

    ‘No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All’ Tracklisting

    'No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All' cover.
    ‘No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All’ cover.
    1. Hit The Lights (Tailgunner)
    2. The Four Horsemen (The Almighty)
    3. Motorbreath (SOEN)
    4. Jump In The Fire (Tygers Of Pan Tang)
    5. (Anesthesia) – Pulling Teeth (David Ellefson)
    6. Whiplash (Motörhead)
    7. Phantom Lord (Saxon)
    8. No Remorse (Diamond Head)
    9. Seek & Destroy (Testament)

    LINKS:
    https://www.facebook.com/people/Silver-Lining-Music/100063877787046
    https://www.instagram.com/silver.lining.music
    https://x.com/SilverLMusicltd
    https://www.youtube.com/@SilverLiningMusic
    https://www.facebook.com/Testamentlegions
    https://www.instagram.com/Testamentofficial
    https://x.com/Testament
    https://www.youtube.com/user/Testamentofficial
    https://www.tiktok.com/@Testamentlegions

    Smag På Dig Selv – Let’s Go

    By
    Editorial Team
    -
    Smag På Dig Selv
    Smag På Dig Selv

    Danish trio Smag På Dig Selv (SPDS) return with ‘Let’s Go!’, the second single from their upcoming album to be released in March 2026. The track is a Viking anthem wrapped in electronic chaos, throat singing and electro punch produced by hyped, charting Danish producer TMI Tammi.

    ‘Let’s Go!’ was composed in the October 2024, when the band retreated to Albert’s 200 year-old summer cottage in the idyllic landscapes of North Zealand for a writing week. Originally, the plan was to create techno, but the autumnal, Bon Iver-like atmosphere shifted the mood. Instead, the musicians leaned into simply being a band, playing together in silence and letting the music speak. What emerged was a compromise between their initial intention and a newfound urge to explore the idea of an “ambient Viking band” – all brought to life with Carmen’s unmistakably maximalist production.

    Since their debut in 2018, Smag På Dig Selv, consisting of Oliver Lauridsen (tenor sax), Thorbjørn Øllgaard (baritone and bass sax, vocals), and Albert Holberg (drums), have established themselves as one of Denmark’s most uncompromising and captivating live acts. With their explosive mix of acoustic techno, punk energy, and 90s dance, they have played everything from Roskilde Festival over SummerStage in Central Park, New York to showcase festivals such as SXSW, The Great Escape and Eurosonic.

    After their debut album ‘SPDS’ from 2024 cemented them as one of the most boundary pushing groups on the Danish scene, the trio is now ready for the next step: a new album in March 2026 followed by the spectacular Christiania World Tour, where they will present the material in the heart of the Freetown, where the band itself was formed. With ‘Let’s Go!’, Smag På Dig Selv continue their mission to challenge the simple set up and musical output made from two saxophones and drums.

    Featured image by Erling Brodersen.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/smagpaadigselv/
    https://www.facebook.com/smagenafdigselv

    Local Weatherman – Thread

    By
    Ryan Martin
    -
    Local Weatherman
    Local Weatherman

    Local Weatherman has today released their new single titled ‘Thread’, from their upcoming album ‘Right One’, dropping January 16th, 2026, via Karol Records.

    Old school indie with retrotastic undertones and a feel-good alternative vibe, Local Weatherman give a mix of grit and gold with lush harmonies amid a dirty and distorted landscape, giving a balance to the mayhem and a chi to the hook. This is a gorgeous song, to say the least. What I love most about it is that wait-and-listen style of songwriting that gives the twists an turns an unexpectedness to the welcomed surprises, showing that you can write a song with a totally original vibe while keeping it mainstream enough to appeal to the masses.

    About ‘Right One’

    Brooklyn rock band Local Weatherman is excited to announce their new EP, Right One, available January 16, 2026, via rising tape label, Karol Records. “Thread,” the first preview of the incoming project is out now, which follows a search for identity through unraveling threads of anxiety, ample riffage, and heavy hooks. Quotable as ever, today’s release expands upon the band’s emerging discography with dizzingly cyclical guitars and powerful vocal delivery.

    “‘Thread’ is about having no release valve when your mind is racing,” bandleader Fritz Ortman explains. “It’s the heaviest song we’ve made, but I think the bridge is one of the prettiest moments on the EP. This song also reckons with the rockstar dreams I had growing up (and maybe still have), and each verse ends with a nod to a song I loved as a kid.”

    Right One is out January 16, 2026, via Karol Records, available on cassette, CD, and all streaming platforms.

    ‘Right One’ Tracklist

    'Right One' cover.
    ‘Right One’ cover.
    1. Thread
    2. The Hole
    3. Weighing
    4. Out of Vein
    5. Right One

    About Local Weatherman

    Formed in New York City in 2018, Local Weatherman began as the project of singer-songwriter Fritz Ortman. After cutting his teeth at shows in basements and backyards throughout New Jersey, moving to New York shifted his focus away from punk and emo and towards songs influenced by the storied back catalog of American independent rock music. Local Weatherman performed as a full band for the first time in 2021, adding guitarist Ford Murphy. In 2023, Local Weatherman teamed up with Zack Robbins and Ian Farmer at Philadelphia’s Metal Shop to record their self-titled album. Following the release and the addition of bassist David Murray and drummer Sam Shahghasemi, the band carved out a niche for themselves, playing shows in New York and hitting the road across the East Coast, Midwest, and Canada.

    On their new EP Right One, Local Weatherman reflects on the process of stitching things back together when they start to come undone. Recorded once again in Philadelphia with Zack and Ian, the release explores self-doubt, new beginnings, and the pain of distance with a sound that pulls from power pop, emo, and slacker rock while building on the distinct style they’ve shaped over the past eight years.

    Featured image by Caroline Safran.

    LINKS:
    https://www.instagram.com/localweatherman/
    https://localweathermannyc.substack.com/
    https://www.youtube.com/@localweatherman5572
    https://localweatherman.bandcamp.com/

    Tickles – Daughters Around

    By
    Ryan Martin
    -
    Tickles
    Tickles

    Tickles has today released their latest single titled ‘Daughters Around’ from their upcoming debut album ‘Sugar & Plastic Plates’, dropping November 28th, 2025, to limited edition vinyl via Stolen Body Records.

    Raw rock with electroplating with a foot-stomp march infused with that rebel snark. The build up is infectious and the hook is honed. This is one of those tracks that takes you in and never lets you go. Take that for what it’s worth, but this is something to start the week with. At least wait until the chorus, you won’t be disappointed. Like a foot to the neck, it’s that sucker punch to the fanzone.

    With a name like Tickles and a track titled like ‘Daughters Around’, you’re in for one of those ‘Sixth Sense’ surprises when you listen to this. Inject the adrenaline here.

    About Tickles & ‘Sugar & Plastic Plates’

    Nantes, France-based noise-rock four-piece Tickles are excited to announce that their debut studio album ‘Sugar & Plastic Plates’ is due for release November 28th 2025 to limited edition vinyl via Stolen Body Records.

    Emerging from the vibrant punk scene in Nantes, France in 2018, Tickles have carved out a reputation as one of the country’s most exciting and unpredictable new bands. The four-piece burst onto the scene with their 2020 debut EP ‘I Love You Paul’, a raw, bruising release that immediately drew comparisons to Idles, Fontaines D.C. and METZ and saw them championed by French press for their fusion of noise, punk and post-hardcore, their chaotic live energy, and their sharp sense of humour. Their second EP ‘Ticklesticklesticklesticklesticklestickles’ further cemented their reputation, showcasing a band capable of matching intensity with intervention.

    Now signed to A Tant Rêver du Roi (FR) and Stolen Body Records (UK), Tickles release their debut album ‘Sugar & Plastic Plates’ on November 28th 2025. Its first single, ‘The Safest Car’, captures the band’s unrelenting energy and lyrical unease; a raw post-punk anthem exploring the fear of leaving one’s comfort zone and the temptation to always take the safest path. Continuing the lineage of Nantes’ punk underground – from Elmer Food Beat to Mad Foxes – Tickles deliver music that is as cathartic as it is chaotic: a celebration of noise, release and reckless abandon.

    Their debut nine track studio album was recorded with Christophe Hogommat (Mad Foxes, Basic Partner, 20 Seconds Falling Man, Watertank), mixed by Joris Saïdani (Birds in Row, Bops, Fragments) and mastered by Thibault Chaumont (W!zard, Carpenter Brut, It It Anita). The album is still charged with the raw intensity of their noise-punk roots, but the quartet digs deeper to deliver a darker, more furious and visceral full record. Through apocalyptic riffs, thunderous basslines, frenetic rhythms and cynical lyrics, Tickles wrestle with isolation, anxiety, abandonment and the scars of childhood, a sincere first statement from the band.

    ‘Sugar & Plastic Plates’ Tracklisting

    ‘Sugar & Plastic Plates’ cover.
    ‘Sugar & Plastic Plates’ cover.
    1. I Am Not The Body
    2. The Safest Car
    3. Daughters Around
    4. Love Cells
    5. Cheeks
    6. Haunted
    7. Norah
    8. One Foot Chair
    9. Drawings

    On the creation of the album, vocalist Lucas Bonfils explains, “Recording with Chris Hoggomat flowed effortlessly as we’ve spent a long time refining these nine tracks and knew exactly what we wanted. The connection with Chris allowed us to experiment freely, exploring noise, unusual sounds, and even techno-inspired textures, pushing each song to its limits while keeping its core intact. The result is a record that captures both our chaotic power and the careful thought behind each arrangement, offering a vivid experience of our new incarnation. The album title, subject matter and its artwork capture the bittersweet feeling of birthdays, moments filled with joy, yet sometimes tinged with solitude as connections slowly fade and loneliness quietly settles in.”

    Discussing the lyrical inspirations behind the track, Bonfils says, “Daughters Around questions family relationships and their gender dynamics. While the father goes to work, the son fights, and the mother struggles, the daughters remain around, symbols of both gentleness and fragility. Yet behind this seemingly secondary role, it is upon these figures that the balance of our relationships truly rests. Through music that is heavy yet tinged with disco, this ode to the strength of all our daughters takes shape.”

    LINKS:
    https://ticklesticklestickles.bandcamp.com
    https://www.facebook.com/TICKLESTICKLESTICKLES
    https://www.instagram.com/tickles_tickles_tickles

    Royals – Fever (Ft. Gabi Rose)

    By
    Editorial Team
    -

    Southampton pop-punk outfit Royals are turning heads once again with Fever, serving up irresistible grooves and a fiery sax solo wrapped up in their classic pop punk style.

    Driven by funky guitar riffs and a groove-laced beat, Fever blends Royals’ pop-punk core with new flavors that push their sound into fresh territory. The track leans into swagger and fun, featuring Gabi Rose (Enrose, Bilmuri) who brings an electrifying saxophone solo that takes the energy sky-high.

    “Fever is one of those songs that felt different from the very start,” shares vocalist Luke Smithson. “It’s got this groove that we don’t usually lean on, but it still feels very ‘us.’ When Gabi came in with the sax, it just elevated everything and it was like, okay, this is Royals but with a whole new twist.”

    Lyrically, Fever is probably Royals at their cheekiest. It tells a story of instant attraction, lust, and longing, framed through the heat and chaos of desire. “It’s definitely our most risqué track so far,” the band admit. “It’s about that overwhelming spark when you meet someone and you’re burning up with it, not knowing if it’s a one-time thing or if the spark can last. There’s playfulness in there, but also vulnerability. It’s us leaning into something different and having fun with it.”

    “It’s definitely the cheekiest song we’ve ever written,” says guitarist Will Sherlock. “We wanted it to feel fun and confident, like capturing that exact moment of meeting someone and just knowing there’s something there. It’s a little wild, a little risky, and that’s what makes it exciting.”

    Alongside the release, Fever sets the stage for the announcement of Royals’ long-awaited debut album High Stakes & Heartaches. The record will be arriving early 2026 — marking a huge moment for the band as they raise the bar higher than ever. Fans have already been enjoying a steady stream of singles this year, from the double drop return of Killer and Spinning Out, to Royals’ fastest streamed song to date in Good For Me, and the groove-driven ‘Fever’, it’s been very clear something bigger has been coming.

    After playing a handful of shows at the start of 2024, the boys set aside the rest of the year to write and perfect their debut album.

    “We’ve been working towards this record for a long time,” says vocalist Luke Smithson. “It’s the most ambitious thing we’ve ever done — sonically, emotionally, everything. We wanted to take everything we’ve learned over the years and push it further than we ever have before.”

    After a busy 2023 on the road, Royals deliberately stepped back to focus on writing and perfecting the album. “We’d spent so much time touring that we’d never really had the space to build something as big as this,” shares drummer Tom Trowbridge. “Once we got into the studio with no outside pressures, it all clicked. The songs came together in a way that just felt right.”

    Across the run of singles so far, from the gritty bite of Killer and Spinning Out to the sleek, fresh energy of Good For Me and the pop shimmer of Getaway, Royals have hinted at the breadth of what’s to come. High Stakes & Heartaches brings those worlds together into something cohesive, packed with big hooks, bold moments, and a few curveballs along the way. And in spite of all that sonic variance, the most surprising thing about the album might be its 13-track length.

    “In a time where most bands are cutting things shorter, and focus on singles, we wanted to do the opposite,” says bassist Tom Guildford. “We grew up loving albums that felt like an era and a journey, and that’s what we set out to make. You consistently see bands touring anniversary shows for iconic, defining albums, yet, it feels like the industry is pushing people not to write them anymore? So that’s what we decided to try and create for ourselves. Every song earned its place and is part of the story and sound. If we were going to make our debut album, we wanted it to feel like a real album, start to finish.”

    The band say that this album represents everything that they’ve gone through as a band and as people. There are highs, lows, and everything in between, but at the heart of it is us taking a risk and going all in. It’s called High Stakes & Heartaches for a reason.

    With Fever lighting the fuse, their debut album promises to be Royals at their boldest. A record built from resilience, growth and ambition. It’s the sound of a band who’ve found their stride, and are ready to bet everything on it.

    About Royals

    Royals are a four-piece pop-punk band from Southampton, UK, crafting modern, high-energy anthems with big hooks and emotional punch, perfect for singing and screaming along to in sweaty venues.

    Formed in 2019, they’ve already clocked over a million streams, landed spots on major Spotify editorial playlists like Pop Punk’s Not Dead and New Punk Tracks, and picked up widespread radio support from BBC Radio 1, Kerrang! and Idobi Radio.

    Their second EP “A Spark to Ignite”, produced by Neck Deep’s Seb Barlow, saw Royals named by Alternative Press as one of the “Top 10 Rising UK Pop Punk Bands.” In 2024, they were shortlisted for Kerrang! and Marshall Records’ The Deal, making it to the final 10 for a coveted slot at Download Festival.

    With a sound that blends classic pop punk energy with modern production and a high-end polished sound, Royals continue to carve out their place as one of the most exciting new bands in the UK scene. They’ve worked with top-tier producers including Sam Guaiana (Holding Absence, Bearings), Jon Lundin (Good Charlotte), Clint Murphy (Enter Shikari, Busted), Grant Berry (All Time Low, Stand Atlantic), and shared stages with ROAM, WSTR, Skindred, Sleep Token, As December Falls and more.

    After a heavy touring run that included sold-out headline dates and festival appearances, the band stepped back in 2024 to breathe creatively. Not to reinvent themselves, but define it. The result is a new wave of Royals: louder, catchier, and more honest.

    “This year is all about taking it up a level,” the four-piece add. “We did a lot of growing in 2024 – both personally and creatively. 2025 is about bringing that out into the world, and we’re ready to go harder than ever.”

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/royalsofficialuk/
    https://www.tiktok.com/@royalsofficialuk
    https://facebook.com/royalsofficialuk
    https://royalsofficial.com/

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