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    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/

    Circle The City – Incommunicado

    By
    Editorial Team
    -
    Circle The City
    Circle The City

    Canadian alternative rock band Circle The City emerge with Incommunicado, a powerful new EP that dives into the breakdowns, silences, and fragile connections that define modern relationships. At the heart of the release stands its lead single, “Another Day,” a haunting reflection on heartbreak, survival, and rediscovery.

    Built on aching melodies and emotionally charged vocals, “Another Day” captures the struggle of enduring love’s wreckage and the quiet strength it takes to start again. It’s the sound of scars turning into resolve, bruised but unbroken. Lines like “I’ve been breaking in the silence that you made, I still choose to live and die another day” strike at the core of what it means to keep going when everything feels lost.

    The Incommunicado EP unfolds as a four-song exploration of communication breakdowns, toxic attraction, and the ghosts of past love. From the emotional tension of “Animals” and the dark pull of “Crave,” to the introspection of “In Rewind,” the record is an intimate and confessional work of resilience and reflection.

    Incommunicado establishes Circle The City as one of Canada’s most expressive voices in alternative and indie rock, unafraid to dig deep and turn pain into something beautiful.

    About Circle The City

    Against the mesmerizing backdrop of Lake Huron, Circle The City masterfully blends rock, psychedelic, progressive, jazz, and metal elements to craft a unique musical tapestry. With unwavering prowess, they are etching a trail through Ontario’s dynamic music scene. Emerging from Sarnia, the band has surged within their local community, entrancing listeners and garnering momentum in the live music arena over the last couple of years.

    Today, their magnetic aura transcends Sarnia’s borders, as Circle The City’s influence pervades the southern expanse of Canada, leaving an indelible impression and showing no signs of slowing their momentum.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/circlethecityband
    https://www.facebook.com/CircleTheCityBandSarnia/
    https://www.youtube.com/channel/UCEmFgHD2uLR-dCxVGmPQa1Q

    Spiral Fracture – Defiance

    By
    Editorial Team
    -

    US progressive metal titans Spiral Fracture have released their second single, “Defiance”, accompanied by a striking new video. The track is taken from the band’s upcoming album Grace in Decay, which will be released on January 23, 2026, via Wormholedeath.

    A relentless descent into inner chaos and raw resistance, “Defiance” claws through guilt, pain, and spiritual conflict, fusing crushing riffs with a fierce declaration of survival. This is the sound of refusing to kneel, even when the walls close in.

    About Spiral Fracture

    Spiral Fracture is a progressive metal band that bridges the past and future of the genre. Their sound blends thunderous drums, soul-shaking bass, and atmospheric guitar textures with the soaring clarity of a classically trained alto vocalist. Inspired by the Fibonacci spiral, their music mirrors the fractures of modern society through a fusion of prog, rock, death, black, and power metal.

    Featuring David Givens (guitar), Brian Fisher (drums), Brian Tanner (bass), and Javier Ramos (vocals), the band creates a precise yet primal sonic tapestry. Now managed by Extreme Management Group, Spiral Fracture is set to expand their reach and connect with listeners worldwide.

    SOURCE: Official Bio

    LINKS:
    https://www.spiralfracturemetal.com
    https://www.youtube.com/@spiralfracture
    https://www.facebook.com/spiralfracturemusic
    https://www.instagram.com/spiralfracture

    Das Mörtal – Origins + New Video

    By
    Editorial Team
    -
    Das Mörtal
    Das Mörtal

    Renowned dark synthwave producer Das Mörtal is gearing up to unveil his highly anticipated EP, ‘Origins’, via Lisbon Lux Records, along with the focus track and its accompanying video ‘I Just Want To Hold You (Part I)’ (video below). The video was directed by Jamaican-born, Montréal-based filmmaker Stacy Lee, whose work bridges music, fashion, and narrative film. She recently completed the PHI Centre’s InVisible Voices residency, received a Canada Council for the Arts grant to collaborate with Guillaume Vallée, and has collaborated with artists such as Backxwash, Jessica Moss, and Godspeed You! Black Emperor.

    Das Mörtal’s heavyweight single ‘Falsche Daten’ was the first single to drop from the EP, receiving support from renowned publications YourEDM, Post-Punk, and Decoded Magazine. Boasting over 28 million streams on Spotify alone, Das Mörtal has received media and radio support across the globe. With numerous EPs and albums to his name, he has appeared at several major festivals such as Osheaga, Transmusicales de Rennes, FME, and Meg Festival, while opening on tours for the likes of Vitalic, Perturbator, and Carpenter Brut.

    Das Mörtal’s music has been praised by prominent industry webzines CLASH Magazine, KALTBLUT Magazine, METAL Magazine, Run The Trap, Canadian Beats, MetalSucks, Cult MTL, Le Canal Auditif, Ottawa Life Magazine, DIFFUS Magazine, VOLT Magazine, and Brutal Resonance to name a few. Additionally, his music earned Most Added New Release on the American college radio chart Top 200 NACC, as well as landing on several influential pages on YouTube such as NewRetroWave.

    Currently based in Montréal, Das Mörtal’s journey began in Berlin, as he drew inspiration from artists like Steve Moore and Aphex Twin. The enigmatic producer focuses on a dark and nostalgic sound, skillfully blending genres from Techno to Occult Electro to horror, sci-fi film soundtracks, Italo disco – and much more. With ‘I Just Want To Hold You (Part I)’, Das Mörtal showcases a more unrestrained side of his artistry, while retaining his distinct obscurity. The funk-induced track has an inescapable groove and vocoder-laced refrain that will entice fans of Daft Punk, Justice, and Kavinsky.

    ‘Origins’ is a stellar showcase of Das Mörtal’s power to conjure up sonic stories from the depths of grit and darkness. From the searing buzzsaw chaos of opener ‘Minimal Chainsaw’ to the futuristic grooves of closer ‘…Now’, the EP is an opulent feast of cerebral yet irresistibly danceable synth work.

    Focus track ‘I Just Want To Hold You (Part I)’ sees Das Mörtal mold and customize Italo disco into a fiery, moody love ballad. With his seething interpretation, the track simultaneously transports the listener to the 80’s while firmly holding its own as a contemporary hit. Underscored by masterful sound design, deft layering, meandering synths and a tenacious beat, the single proves that Das Mörtal can in fact, do anything. The accompanying video is a mesmerizing vignette of nocturnal reverie on the dance floor: club kids, adorned with leather and vampire teeth, kiss and dance in strobe-lit splendor – a perfect visualizer to the song’s euphoric majesty.

    Das Mörtal shared: “’Origins’, as a whole, is made up of tracks that delve in my past creations but that are still relevant today because they still represent the wide spectrum of music I’m still exploring and crafting.”

    SOURCE: Official Bio

    LINKS:
    https://dasmortal.bandcamp.com/
    http://www.facebook.com/dasmortal
    https://www.instagram.com/dasmortal
    https://open.spotify.com/artist/0l5SpsbElFWLrDdMXWieNp

    An Exclusive Interview with Sir Petrol + New Album Out Today

    By
    Ryan Martin
    -

    Jammerzine has an exclusive interview with Italian artist Sir Petrol. While being the alter ego of Rebecca Magri, Sir Petrol is an artist that has already established a name for herself long before her new album album ‘Evil Design’ (via Elefante Rec) has dropped, which is today.

    Having already made a name being a member of bands like Upupayāma (Fuzz Club), Kaptain Preemo, and Ayahuasca, and for her collaboration as sitar player with Boris Williams (The Cure), the experience has always been outshined by the originality of Sir Petrol herself.

    In this interview, we talk with Sir Petrol about this diversity and originality as well as venturing out on her own with all things ‘Evil Design’.

    ‘Evil Design’

    Electronic meets electrified, that’s the best way I can describe ‘Evil Design’ in just a couple words. It has a flow to it that shows the diversity of each track while putting the collectiveness and togetherness of the album on equal display.

    ‘Evil Design’ is not one of those albums you think you can get an overall feel simply by playing a few minutes of one of the songs. That will totally give you the wrong impression. If you read the list of bands Sir Petrol has been a member of or played with you can see there is much there stylistically to know that you can’t simply dismiss or dismay a single track of Sir Petrol’s.

    While the messages of each track are individualistic, the collective message is how an individual can change the world, and starting by improving themself. That may not have been the intent, but good art is interpretive.

    “For me, this album was a form of exorcism and denunciation. A necessary psychotherapy to reach a state of individual evolution and a study of today’s society. Songs like Enclosed, Cuts and Guts, and Made Out of Stone delve into the paranoia and lies we tell ourselves; however, I Wanna Look Good Naked, Swallow and Destroy, and Evil Design deal with the external influences imposed by society, standards, and events.”
    Sir Petrol

    About Sir Petrol

    Sir Petrol is the alter-ego of Rebecca Magri, musician and composer from Parma (Italy), already known as a member of bands such as Upupayāma (Fuzz Club), Kaptain Preemo, and Ayahuasca, and for her collaboration as sitar player with Boris Williams (The Cure).

    Rebecca started Sir Petrol in 2024 as her solo project, developing a polished yet accessible sound built on trip rock, psychedelia, and alt-pop, also incorporating jazz contaminations and rough guitar sounds, all tied up by Rebecca’s expressive and mature vocals, which range from velvety and harmonious to acid and fiery.

    Sir Petrol can be imagined like a cosmonaut who, from above, beyond the atmosphere, observes the world and notes its evolutions (and involutions).

    He studies them, faces them, and judges them.

    Each song on the album sounds like a sentence, describing the mood and the feelings unconsciously triggered by watching the world passing by from a distance.

    The introspective lyrics explore those complex feelings and the twisted human dynamics that often put individuals at risk.

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

    William Covert – Dream Vessel

    By
    Ryan Martin
    -
    William Covert
    William Covert

    William Covert has today premiered his new and third album titled ‘Dream Vessel’. Experimentation as a format with a feeling of freeform thought as the originator, ‘Dream Vessel’ is a set of songs that let the heart go and the mind race. Think of the process that made this as coming from that golden era of rock music when bands jammed and minds escaped. Not following the tight constraints of the assembly line hitmakers, yet retaining that feeling of being something big.

    While each track goes into it’s own direction, collectively, there is a pure concept. An open airspace of sound and beat not following the mainstream but becoming the mainstay. This is what makes this an immersive listen. You never figure out where the music goes but always become satisfied after you get where it’s headed.

    Consider this a lesson in the possibilities of music.

    About William Covert

    After more than 15 years of drumming in math rock, post-rock, and post-hardcore bands, William Covert began experimenting with live-looped synths alongside acoustic and electronic drums. This experimentation birthed two full-length solo albums characterized by post-rock and krautrock-inspired synth loops and melodies, all performed solo with loop pedals and sequencers. “I wanted my third solo album to go in a different direction with different instrumentation,” – explains Covert discussing the process behind the creation of ‘Dream Vessel’.

    The band’s inspiration springs the fearless genre-blending of John Zorn’s and bands such as Naked City and Painkiller alongside the pioneering live improvisations of King Crimson and the Mahavishnu Orchestra in the 1970s. “’Dream Vessel’ is more of a full rock band feel for much of it while going into uncharted musical territory.” – explains William stating that this album serves as a vessel to “experiment with combining abrasive noise rock with free-jazz textures in a band format.”

    Joining Covert on drums for half the album’s tracks, longtime collaborators Jack McKevitt (guitar) and Nathan Schenck (bass) perform together as the William Covert Trio. Recorded live and fully improvised in the studio, the William Covert Trio tracks contain no overdubs, capturing the spontaneous and visceral energy of the musicians performing together in the same room. The trio, who also play together in Chicago’s post-hardcore noise rock outfit Tum, bring an aggressive avant-garde noise rock improvisational ethos to the record. “The trio’s approach is rooted in raw energy with loose but deliberate structure,” states Covert, equally inspired by both Don Caballero and Last Exit.

    While the first part of the record became a group effort for Covert, the other half was performed entirely solo, diving deep into cinematic ambient soundscapes, dreamy Frippertronic-influenced guitars, modular synth, and free-jazz drumming filtered through a post-industrial lens. These compositions immerse themselves in meticulously layered sound design with nods to slowcore and minimalist post-rock, providing a dynamic contrast to the trio’s raw intensity.

    Featured image by Tommy Calderon.

    LINKS:
    https://wmcovert.bandcamp.com/
    https://www.facebook.com/wmcovert/
    https://www.instagram.com/william.p.covert/
    https://open.spotify.com/artist/39nCVn4v1FkNIvsy7gjmR9

    In Virtue – Desolation Throne

    By
    Editorial Team
    -

    Los Angeles progressive power metal band In Virtue has dropped another irresistible music video, “Desolation Throne”, in support of their long-awaited concept album “Age Of Legends,” set to release on November 21st, 2025.

    “Desolation Throne” is a sonic and emotional powerhouse, channeling the tortured ascent of Sisyphus to a self-made throne of darkness. Vocalist and songwriter Trey Xavier (founder of the website GearGods.net) delivers a commanding performance inspired by Symphony X’s Russell Allen, blending gritty cleans with metalcore chugging reminiscent of early Unearth and Killswitch Engage. The track’s bridge, Trey’s personal favorite moment on the album, dives deep into the character’s emotional insecurity and his destructive response to being misunderstood.

    The video’s release marks a major milestone in a journey over a decade in the making. “Age of Legends” is more than an album; it’s a cathartic narrative of self-forgiveness, transformation, and rebirth. Inspired by the myth of Sisyphus, the album follows a flawed protagonist seeking redemption not from the gods, but from himself.

    “It’s about releasing ourselves from guilt and regret, because until you do, you can’t do any good in the world, for yourself or anyone else,” explains Trey.

    Musically, “Age of Legends” delivers a unified emotional journey, driven by thunderous riffs, infectious grooves, and cinematic layers that heighten the story’s most intense moments, not for show, but for substance. In Virtue’s signature sound, heavy, fast, melodic, catchy, and groovy, draws from influences like Soilwork, Amaranthe, Shinedown, Symphony X, and Sonata Arctica, yet carves out its own identity beyond genre conventions.

    Born from a passion for power metal and a rejection of its fantasy tropes, In Virtue creates music rooted in real-world emotion, personal philosophy, and raw vulnerability.

    “This album is the full realization of our sound. It’s a concept piece that casual listeners can vibe with, but those who dig deeper will find a flawed character fighting for self-forgiveness. It’s immersive, cohesive, and meant to be experienced start to finish, with headphones on and the world tuned out,” says frontman Trey.

    The album’s artwork, created by Niklas Sundin (formerly of Dark Tranquillity), depicts Sisyphus breaking free from his eternal punishment, a visual metaphor for the album’s core theme of self-liberation.

    Fans can immerse themselves in the world of In Virtue through the “Desolation Throne” video, an uncompromising glimpse into the soul of a band that refuses to play by the rules.

    ‘Age Of Legends’ Tracklisting

    'Age Of Legends' cover.
    ‘Age Of Legends’ cover.
    1. Ascent Glorious
    2. Sisyphus Awakening
    3. Karma Loop (ft. Charlotte Wessels)
    4. Push That Rock
    5. Purgatory
    6. Exposed
    7. Scream
    8. Where The Edges Meet
    9. Gunslingers of the New American Desert
    10. Desolation Throne
    11. Thoughts in Freefall (ft. Dave Davidson of Revocation)
    12. The River
    13. Tempus Fugue (ft. Chaney Crabb of Entheos)
    14. Descent Limitless

    About In Virtue

    Los Angeles, California’s In Virtue is a band forging a new path, abandoning outdated conceptions of what heavy music is to redefine metal for a new era. Although In Virtue was initially formed in 2004 in California’s Bay Area, the band’s rebirth in 2015 is where the real story begins.

    That’s when founding guitarist Trey Xavier made the difficult decision to take over lead vocals, move south to LA, and start the band over with a new lineup. This was the catalyst they needed, and the band’s final form took shape. Adding keyboardist Alex Nasla (The Mourning, ex-Witherfall), guitarist Rami Khalaf, and bassist Jamie Hush, their new sound was freed.

    “I was tired of other people singing what I was writing,” says Trey (who you may know from his popular YouTube channel). “We had some pretty good singers, but it always felt like a compromise. It was pretty scary – I was 28 and I had never seriously sung before. But all the work I put in paid off, because now I can create my music as I envision it.”

    And what a vision it has become – the band’s forthcoming album Age of Legends, due out in 2025, tells a haunting tale of Sisyphean struggle and redemption through a modern lens. This new era of In Virtue brought their first new music, 2019’s single “Purgatory”, which gave the world a brand new sound. Combining elements of power metal, groove, progressive metal, and pop, but somehow sounding like none of the above, “Purgatory” defined the sonic future of the band.

    The singles “Where The Edges Meet” and “Scream” followed soon after to expand on the story, each moving the story forward and bringing new life to the characters and their pain.

    With way more to come on Age of Legends, In Virtue is looking forward to the next chapter and bringing their story to the world.

    SOURCE: Official Bio

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

    An Exclusive Interview with x-blu + Video Premiere

    By
    Ryan Martin
    -

    Jammerzine has an exclusive interview with the entirety of everything and everyone that is x-blu. x-blu has been around for a few years. We’ve covered them many times. Why I’m saying this is that they never cease to amaze me. It’s always interesting with x-blu.

    After going through the obligatory lineup changes and stylistic shifts, x-blu find themselves in a new place for a new time. That is never more evident than in their new single and video titled ‘New Shore’ (video below).

    In this interview, we talk with the entire band about ‘New Shore’ and everything that has culminated into bringing x-blu into their current form and mindset as well as a formal introduction to their new drummer!

    ‘New Shore’ Video

    ‘New Shore’ finds x-blu in a new musical space in their long and storied career. Some may think this is more if an accessible track for the band, but is still plenty of outside of the box mentality and musicality to go around with this latest single. Dani Tagen’s vocals are as original and signature as ever while the guitars, rhythm, and atmospheric keys are as full and lush as they have ever been. Maybe the difference is the hook with the track? That subtle anthemic sound that permeates the song? While it’s hard to pin down it’s easy to hear.

    The video, directed by Tagen, gives a slight party inclusion vibe as the song chugs along. It fits. And fits well. It feels like a classic style video from the glory days of MTV, while serving as an introduction to the unindoctrinated. To say this is a fun song is an understatement. It’s a welcom to the world of x-blu.

    About x-blu

    London’s only avant-garde post-punk band delivering intellectual rebellion through sophisticated song-craft.

    Combining catchy, memorable riffs with poetically complex lyrics that are accessible enough for radio while maintaining artistic integrity, xblu sets itself apart.

    “Refreshingly different, atmospheric, immersive sound. Pulls the audience into a dreamy yet high-energy vibe” (Rough Edges) “x-blu blew me away from the moment they hit the stage, their energy was electric and their sound was immersive and atmospheric!” (Rough Edges)

    The project founded by Dani Tagen and Gary Parker in 2020.

    x-blu is Gary Parker (guitar & vocals) & Dani Tagen (lead vocals) featuring Sam Bowden (Bass & vocals) & Cindy Lee (keys).

    LINKS:
    https://jam2.me/x-blu
    https://www.instagram.com/xblu.music
    https://www.facebook.com/xblu.music
    https://www.youtube.com/channel/UCUADoM-aX56VME65giJIKSQ
    https://www.x-blu.com
    https://soundcloud.com/xblumusic
    https://tiktok.com/@xblu.music

    Rancid – Sex and Death

    By
    Editorial Team
    -
    Rancid
    Rancid

    A final preview of Killed By Deaf – A Punk Tribute to Motörhead (Oct. 31, BMG Recordings) arrives today with the release of Rancid’s “Sex and Death” cover.

    Across the fourteen tracks on this album, you’ll hear a loving tribute to Motörhead from some of punk rocks’ biggest and most respected bands. The latest of which to be revealed is “Sex and Death” covered by punk legends Rancid out now.

    Lars Frederiksen (guitar/vocals) from the band says of their cover:

    “It’s like, it’s the perfect Motörhead song for me. You know as well as I do how much of a big Ramones fan Lem was. And it sounds to me like his take, Motörhead doing the Ramones. But there’s that little itty bitty guitar solo there. And it was the most Rancid style song that Motörhead did that I thought it’s close enough to like a song we would write.”

    Watch Lars talk about their cover, along with discussing Motörhead’s influence on heavy music and why the band were both a punk AND a metal band.

    Joining Rancid on this tribute are luminaries like Pennywise, Lagwagon, GBH, The Bronx and FEAR all contributing raucous versions of their favorite Motörhead tracks… along with up-and-coming upstarts like Slaughterhouse, because, let’s face it, Motörhead always loved and championed the underdogs. The only non-Motörhead song on this album is from a previously unheard and blistering version of The Damned’s classic, “Neat Neat Neat,” featuring the great man, Lemmy, himself and The Damned.

    SOURCE: Official Bio

    LINK:
    https://motorhead.lnk.to/killedbydeafpr

    Particls – Bullet Train (Frida)

    By
    Ryan Martin
    -
    Particls
    Particls

    Particls has today released their new single titled ‘Bullet Train (Frida)’. A global sound for a world new order, Particls gives an audio homage to the late, great Frida Kahlo in such a way that it perfectly fits her life’s work.

    A bit haunting and a lot of mixtures between arthouse and psych rock, ‘Bullet Train (Frida)’ becomes as interesting as it seems. The unique blend of instruments amid unique hooks and a laid back way about it, this is a track that introduces Particls as much as it entices you to want to listen to more.

    About Particls

    Produced by Strange Pill at Mashrooms Studios, ‘Bullet Train (Frida)’ is described by the band as “a vague love letter to Frida Kahlo… and bullet trains, somehow”. Exploring themes of presence, authenticity, and the joy of creation, reflecting Frida Kahlo’s enduring spirit, the track is an inventive blend of folk elements, with 70s rock and flourishes of glitching psychedelic effects.

    Speaking about the new single, the band explain: “Bullet Train is a vague love letter to Frida Kahlo…. And bullet trains, somehow. There is a message about presence and authenticity in there that I think Frida certainly personifies. The EP as a whole is just an expression of the enjoyment we all get making music together. We spent two days cutting rhythm tracks on a boat studio called Lightship 95 (David Holmes engineered the sessions) before deconstructing and reconstructing them at Mashrooms Studios with Ben and Zahara (Strange Pill Artists). It was a lot of fun (and a lot of work) to make and in the end we just hope it’s fun to listen to!”

    The full EP captures the band’s dynamic chemistry, blending 1970s progressive textures with contemporary psych and disco rhythms. Recording sessions began aboard the boat studio Lightship 95, engineered by David Holmes, before the tracks were deconstructed and reconstructed at Mashrooms Studios with Ben and Zahara of Strange Pill. The result is a playful, danceable, yet musically challenging and melodically rich record that celebrates the art of making music together.

    Formed in a haze at a Kerri Chandler DJ set in the woods where they decided they wanted to make people dance, whilst keeping some of the 1970s progressive vibe from a previous project, Particls have built a reputation for their unique sonic approach – an invitation to experience rhythm, melody, and spontaneity in equal measure. Earning attention from BBC 6 Music (Deb Grant, Amy Lame), Hard Of Hearing and Clunk to name a few, the band have landed a number of Spotify editorials including Melomania and Top Indie. Having toured across the UK, the band are riding a growing wave of momentum as they prepare to release more new music.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/Particls.band
    https://open.spotify.com/artist/2B7GYX6sOts4KNiI6ZLjrK

    Portland – Exactly What I Need + Tour Dates

    By
    Editorial Team
    -

    Portland, the Belgian dreampop outfit fronted by singer-songwriter Jente Pironet, have released their new single ‘Exactly What I Need’. The 3rd song to drop in the run up to the forthcoming album ‘Champain’ sounds like Portland’s most upbeat and joyous affair yet. “I’m gonna scream it all over the streets. This is exactly what I need”, proclaims Pironet backed by energetic drumbeat and shimmering synths. However, its subject matter is darker than its melody suggests.

    In 2023, just days after triumphing on the stage of Belgium’s biggest festival Rock Werchter, frontman Jente Pironet was diagnosed with brain cancer. What should have been a year of triumph became a time of struggle, recovery, and self-discovery.

    “In hindsight, it’s about exactly what I don’t need”, laughs Pironet, “In that dark period after my cancer diagnosis it felt like life was slipping through my fingers. I clung to escapism: going out to bars and trying to forget. When I feel bad these days, I go out into nature or have a glass of rosé with my grandmother. They’re small things, but it’s comforting to realize that can be enough.”

    Portland are one of Belgium’s most compelling indie exports. Blending cinematic pop, melancholic folk, and festival-ready rock, the band first broke through with their 2019 debut ‘Your Colours Will Stain’ and follow-up ‘Departures’ (2023). Known for their delicate harmonies and emotionally charged live shows, Portland has earned praise from European tastemakers and graced stages from Rock Werchter to Eurosonic.

    Portland’s new album ‘Champain’ is set for release on November 7th on [PIAS] Recordings. Born out of the turmoil and struggle of previous years, the record is an honest travelogue of a restless soul, written between hospital rooms and festival stages, brimming with hope, sharp edges, and reclaimed strength.

    SOURCE: Official Bio

    LINKS:
    https://www.portlandofficial.com
    https://www.instagram.com/portlandsounds/
    https://www.facebook.com/PortlandBelgium/

    El Gant – Wake Up

    By
    Ryan Martin
    -

    El Gant has today released his new video for the track titled ‘Wake Up’ as well as his new album ‘Gantatello’. Since both the video and album are released today, I wanted to focus on the video as opposed to the album to show as a bit of an introduction to the unindoctrinated. ‘Wake Up’ is a wake up call, call to arms, and a call to listen to ‘Gantatello’ as an entity.

    Rhymes slays and beats burn in a dystopian lyricscape of trash, thrash, and build a new future based on what you need and want versus what you’re used to. Details become metails with an introspection needed but rarely heeded. This is a burn track to everything you thought you were and never knew what you could be.

    About El Gant & ‘Gantatello’

    As Hip-Hop progresses through time, many Boom bap veterans either recycle the same formula in hopes of achieving the success of their heroes, or perhaps change their music completely to keep up with the current trends. Others continue to evolve both personally and musically, whilst continuing to pay homage to those from the era that inspired them.

    El Gant has continued to the latter…

    With several songs under his belt produced by DJ Premier, and having appeared as a featured artist on seminal albums by The Beatnuts and Ras Kass, El Gant is no stranger to notoriety with a career that kicked off in the early 2000’s, and has been consistent right through to the present day. This is evident through his endless touring, output of releases, and worldwide radio coverage.

    “Gantatello” is his fourth LP this time teaming up Portuguese producer Martello Sousa, together forging a unique exclusive style of production. In this project, Gant reflects on what it means to emerge from decades in the game, enduring both the highs and lows of life as an artist and as a person navigating a turbulent world. He explores themes of loss, resilience, and personal growth, honoring those he has lost along the way. Rather than giving up, this project stands as a testament to perseverance, learning from failure, and arriving on the other side with a deeper, more informed perspective.

    El Gant also pulled in assistance from some of his peers for the project including the aforementioned Ras Kass, plus Copywrite, Shabaam Sahdeeq, Napoleon Da Legend and others. Instead of overly suffocating the project with features, he allowed his fellow artists to compliment the journey, whilst taking the lead on all fifteen tracks with his commanding delivery and signature rapid-fire cadences.

    LINKS:
    https://www.instagram.com/elgant/
    https://www.tiktok.com/@elgant913
    https://x.com/ElGant
    https://www.facebook.com/elgant

    MONKyMAN – What About Love

    By
    Editorial Team
    -
    MONKyMAN
    MONKyMAN

    Emerging electronic pop artist MONKyMAN released his album ‘What About Love’, featuring its stirring lead single ‘Hambelela’ via Laut & Luise. Over the past two years, his tracks have garnered more than 3.2 million streams on Spotify alone, while his electrifying live sets have taken him across South Africa, New York, Thailand, Tunisia, Egypt, Jordan, Norway, Denmark, and Paris. His festival credits include Apple Tree Garden Festival, alongside acts such as Biig Piig and Bombay Bicycle Club, as well as Fusion Festival, sharing the stage with heavyweights like ARTBAT, Monolink, and K.I.Z.

    Born in Stuttgart and now based in Berlin, MONKyMAN’s music unfolds as a narrative of self-love, awakening, and truth-seeking. His sound balances enthusiasm, hope, and determination with a candid vulnerability, exploring what it means to find light in disorientation. His formative years in Namibia introduced him to beat-making through Fruity Loops at the age of 14 – a spark that ignited his enduring journey into music. Drawing inspiration from figures as diverse as André 3000, Frank Ocean, Sun Ra, Felix Laband, Quincy Jones, Bob Marley, Devendra Banhart, SAULT, and Nina Simone, his sonic palette is as eclectic as it is soulful, sure to be enjoyed by fans of Black Coffee, Nicolas Jaar and Keinemusik.

    What About Love is an expansive journey with dreamy vocals, soulful atmospherics, jazzy instrumentals, and afro-inflected rhythms. The album’s focus track, ‘Hambelela’ which features Vaudeni’s glorious vocals, is a timelessly moving song of praise, wherein an organic percussive instrumental spotlights a richly resonant vocal refrain in the Oshiwambo language, no doubt a homage to the artist’s formative years spent in Namibia.

    Speaking on the album, MONKyMAN shared: “When making this album, I realized that I am just one link in a chain of creations that led to this record being birthed. So many inventions, jobs, tools, processes happen before I can even play a note on a synth. I am so grateful for all the inspiration and equipment available to me in order to make my music. My music has been created by all of us and will forever be there for all of us.”

    Featured image by Gene Glover

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/monkyman_music
    https://www.facebook.com/monkymanmusic/
    https://www.youtube.com/@monkymanmusic
    https://open.spotify.com/artist/1OZYsEHLgv8uRLvMAywgod

    Dragon Inn 3 – Full Disclosure

    By
    Ryan Martin
    -
    Dragon Inn 3
    Dragon Inn 3

    Dragon Inn 3 has today released their new album titled ‘Full Disclosure’ via American Laundromat Records, Bank Robber Music, and SRG Studios.

    A jam band in the truest sense of the term, Drago Inn 3 gives us a set of songs that harken back to the glory days of independent music when the term ‘independent’ meant more than just the word by itself. Back when you had to find it on college radio or MTV late on a Sunday night. This is a return to form for those days. Anthem in slacker vibes and nonconformist to the commercial radio and Spotify playlists you’re given that are pre-generated, Dragon Inn 3 hold the torch for music that will hopefully never die just to light the way for the rest of us.

    About ‘Full Disclosure’

    Recorded between Springfield, Kansas City, and Los Angeles, Full Disclosure captures the band’s most immediate and organic sound to date. After years of crafting lush, synth-heavy arrangements, Dragon Inn 3 embraced a more direct, live approach focused on drums, guitars, and melody.

    “We wanted to make a power pop record with tight arranging, catchy melodies, and good vibes,” says Dickey. “Our first albums took forever to dial in because of all the synths and overdubs. This time we got back to the basics of recording live instruments and chasing what feels fun.”

    About Dragon Inn 3

    Formed in 2012 when Dickey wrote music for a short film called Ghoul School, Dragon Inn 3 has built a reputation for crafting melodic indie pop that mixes charm, humor, and heart. Their releases include Double Line (2018), Trade Secrets (2023), and It’s Christmas (2023), all on American Laundromat Records.

    With Full Disclosure, Dragon Inn 3 channels their love for 80s synth-pop and 90s college radio while nodding to timeless influences like The Beatles, Big Star, and Depeche Mode. The result is a record that feels both familiar and fresh, filled with energy and reflection.

    “We are super lucky and grateful to work with American Laundromat Records, Bank Robber Music, and SRG Studios,” Dickey adds. “They have been helping us release music for the last seven years. Special thanks to Lonny Unitus for the cassette design and layouts.”

    LINKS:
    https://dragoninn3.com/
    https://instagram.com/dragoninn3
    https://www.facebook.com/dragoninn3
    https://open.spotify.com/artist/4R9OjGQDdKY8sjNSEG5CiR

    Cedarsmoke – Something Over Nothing

    By
    Ryan Martin
    -
    Cedarsmoke
    Cedarsmoke

    Cedarsmoke has dropped their new single titled ‘Something Over Nothing’ ahead of their third album ‘Under The Rainbow’, releasing October 31st.

    ‘Under The Rainbow’ is already an album I’m looking forward to. Cedarsmoke’s last single is something I remember well, and ‘Something Over Nothing’ feels like the end of a trilogy that segues into that next chapter of something good.

    There is an aura about this song. Something that takes you away and brings you back with a new memory. A little better and a little fuller. A solid song that chimes all the way through and makes you listen with interest. And, while it’s not a song that reaches out and grabs you, it holds you tight and gives you a better appreciation of music, the way indie music did when it was called alternative.

    About Cedarsmoke & ‘Something Over Nothing’

    A Brisbane/Meanjin band long admired for their lyric-driven approach and genre-bending sound, Cedarsmoke continue to evolve with every release. Since their 2016 debut, they have moved restlessly between folk, rock, country, and psychedelia, always with singer-songwriter Jon Cloumassis’s storytelling at the centre. Their upcoming third full-length album embraces this adventurous streak fully, with each track tied to a colour and a theme, creating a record that is as expansive as it is intimate.

    With ‘Something Over Nothing’, Cedarsmoke frames life’s extremes as essential, suggesting it is better to embrace the turbulence of joy and sorrow than to settle for stillness. Upbeat and energetic yet tinged with an undercurrent of sadness, it recalls a kind of indie rock where poetic storytelling and ragged honesty sit side by side, turning introspection into something vital and alive.

    In keeping with the album’s colour-coded theme, the track shines in yellow, symbolising vitality, excitement and adventure. Its imagery draws on the rising and setting of the sun as a reflection of life’s cycle, casting the song as both a celebration of sweet beginnings and an acceptance of sour endings.

    “Something Over Nothing is about the extremes of life. It sits on the side that it’s better to live through the ups and downs of than to suffer a life of boredom. Focused on joy and sadness and the cyclical nature of life and death, it contemplates the rising of the sun in the east (representing birth) and setting in the west (representing death),” Cloumassis shares.

    Both anxious and anthemic, ‘Something Over Nothing’ tangles restless electronic beats with the organic drive of acoustic drums, flickering synth loops and spectral eBow guitars. The textures feel raw but magnetic, shifting between urgency and intimacy as Cedarsmoke wrap their bittersweet lyricism in pulsing rhythms and ghostly sustain. It is music that sits on the fault line between joy and melancholy, confessional at its core yet propelled by a nervous energy that refuses to stand still.

    ‘Something Over Nothing’ is a restless hymn to life’s sharp edges and fleeting joys, paving the way for Cedarsmoke’s third album ‘Under The Rainbow’, arriving October 31.

    Featured image by Thomas Oliver.

    LINKS:
    https://www.facebook.com/Cedarsmokemusic/
    https://www.instagram.com/cedarsmokemusic/
    https://cedarsmoke.bandcamp.com/

    Q052 – Thunder Child

    By
    Editorial Team
    -
    Q052
    Q052

    Revolutionary Mi’gmaq rapper and activist Q052 released his fourth album, Thunder Child, with its arresting focus track ‘Look It Up’ via the Musique Nomade imprint. ‘Loud Sunday’, the third single released ahead of the album, gained radio support from BBC Radio 6’s Don Letts’ Culture Clash Radio. Q052 – ‘Q’ for Quentin and 052 for the number assigned to his Indigenous First Nations community – is the stage name of Quentin Condo, whose music reverberates with a powerful social conscience.

    Known for his gripping live performances, Q052 has been supported by the renowned Clash Magazine, landed numerous features on Radio-Canada, and shared the stage with iconic acts like Cypress Hill. He has also graced the stages of major festivals such as FEQ, La Noce, OFF Québec, Innu Nikamu, Festival Kwe!, FME, Festival Bleu Bleu, and Festival en chanson de Petite-Vallée. With over 140,000 streams on Spotify and counting, Q052 is captivating audiences with his unique voice and unapologetic message.

    Born and raised in Gesgapegiag, Gaspésie, and now based in Sherbrooke, Canada, Q052 is a fierce advocate for Indigenous peoples, particularly the struggles faced by youth and the protection of Indigenous women and girls. Winner of Best Male Hip-Hop Artist at the 2023 International Indigenous Hip-Hop Awards, he has earned numerous prestigious nominations, including Indigenous Artist of the Year at the 2021 ADISQ Gala, and nods at the 2022 Teweikan Gala in both the Expressive Music Artist/Group and Blues/Rock Artist/Group categories. His album also earned a 2022 GAMIQ nomination in the Hip-Hop Album category.

    Drawing from a kaleidoscope of influences – including Ty Segall, Immortal Technique, Cypress Hill, Black Sabbath, and Rage Against the Machine, amongst others – Q052 crafts a sound that is raw, searing and deeply political. On stage, Q052 channels this explosive energy into visceral performances that confront Indigenous identity, social justice, and personal struggle with unflinching honesty. His fusion of hip-hop, grunge, alternative rock, and spoken word, wrapped in sharp, uncompromising lyricism, is sure to resonate with fans of other inspirations of his: Public Enemy, Run DMC, King Gizzard and The Lizard Wizard.

    Thunder Child is a powerful record that is served well by more than one listen, as each track is jam-packed with Q052’s potent lyricism that speaks truth to power atop gritty, old-school instrumentals. The focus track, ‘Look It Up’, sure to captivate fans of iconic political rappers such as Talib Kweli, Mos Def, Danny Brown, and KRS-One, is a fiery call to action to push back against the powers that be, featuring a stripped back instrumental that allows Q052’s confrontational lines to reverberate with impact. This track embodies the album’s spirit of consciousness, defiance, and revolution, featuring a timeless sound and a piercingly relevant message.

    Q052 shared: “Hip Hop artists are considered to be street journalists who share stories from their environment. In this album, I’m taking listeners on a tour in my mind and expressing how I view the world right now. It’s gone to hell!! From world leaders to the environment, from television shows to the news, from law enforcement agencies invading homes to assassinations, from social media platform addictions to a cold beer!! I’m reporting on it…is this mic on?”

    Featured image by Jean-Philippe Sansfaçon.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/quentincondo052/
    https://www.facebook.com/Q.052.REZ/
    https://www.youtube.com/channel/UCDMXqFMR6h7VXTKWDgpSjXQ/videos
    https://open.spotify.com/artist/2T6gwpmENgpNZTWLJ2bKVE

    The Dollyrots – You Don’t Own Me + Tour Dates

    By
    Editorial Team
    -
    The Dollyrots
    The Dollyrots

    Beloved punk rock power trio The Dollyrots are hitting the road this November for a run with Bowling For Soup and Don’t Panic, culminating in a set at Vans Warped Tour in Orlando, FL..

    At a time when empowerment anthems are more needed than ever, the band is releasing a rousing, punked-up cover of Lesley Gore’s feminist classic “You Don’t Own Me.” The song was the idea of labelmate Brian Ray (Etta James, Paul McCartney), who co-produced and contributed guitar parts to the track.

    “The song is an anthem for female empowerment, about willing to be defiant in the face of something that’s just plain wrong. Sadly, it’s still just as timely as when Lesley sang it over 60 years ago,” shared singer/bassist Kelly Ogden.

    With their signature mix of sugar-rush melodies, punk grit, and bubblegum sneer, The Dollyrots breathe new fire into Lesley Gore’s classic “You Don’t Own Me.” It’s part candy-coated chaos, part fist-in-the-air rebellion—hook-laden guitars collide with Kelly Ogden’s unmistakable voice, equal parts sweet and savage. More than a cover, it’s a technicolor punk anthem that channels the band’s playful heart and fearless bite—reminding us that freedom and fun can both be loud.

    In addition, a limited-edition evergreen vinyl 7-inch single featuring the high-energy original track “Get On This Ride” and “You Don’t Own Me” is out now. The vinyl and an exclusive bundle—including the 7-inch, a t-shirt, and a sticker—are available exclusively at The Dollyrots Store and on tour while supplies last.

    Fronted by Kelly Ogden (bass/vocals) and Luis Cabezas (guitar/vocals), with Simon Hancock on drums, The Dollyrots continue to deliver their infectious blend of attitude, melody, and heart that has become their signature sound.

    Featured image by Jen Rosenstein.

    SOURCE: Official Bio

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

    Broken Sound – DOS

    By
    Editorial Team
    -
    Broken Sound
    Broken Sound

    Fernando Perdomo and A. Michael Collins of the Los Angeles duo Broken Sound stretch their “Fender Bass VI + drums + vocals” formula across 10 songs on their new album “DOS”, spitting out an arresting-but-fun listen packed with catchy melodies, brittle effects, and the occasional foray into the prog-zone.

    As the world emerged from a global pandemic, Broken Sound’s eponymous debut issued some comic relief and wry commentary.

    Now, in late 2025, they’ve fully leaned into the uncertain pulse of American life with their second album, “DOS”. “We wanted to make a record that spoke to some of our oddball interests but also felt ‘of the moment’—a soundtrack for these tense times.”

    “DOS” is a time capsule…a historical document of the current state of affairs offering up dark faux-nostalgia, ascorbic wit, and perhaps, even a ray of guarded hope.

    About Broken Sound

    Broken Sound are a prog infused pop-punk-jazz acid trip super duo is composed of prog and rock music legend Fernando Perdomo (hailed as “The millennial answer to Todd Rundgren” and collaborator with Echo In The Canyon, Todd Rundgren, Leon Russell, Marshall Crenshaw, Christian Castro and Paulina Rubio) and percussion powerhouse Michael Collins (Bow Wow Wow, Gene Loves Jezebel, Tommy TuTone, Big Country).

    This project is composed solely of the two musicians playing a Bass VI (a type of bass/guitar hybrid created by Fender) and a drum kit, as well as singing respectively. That’s it.

    Yet, the band creates a full and complex sound due to Collins’ mastery of the kit and Perdomo’s production and playing prowess. The genre-bending and fourth wall-breaking present in the project allow for complete freedom, which provides a vehicle for both musicians to flex their abilities.

    Broken Sound cuts through the noise with even weirder noise that you can’t help but listen to. A mind-bending listening experience and game-changing live performance.

    The songs on their upcoming release, the sophomore album DOS, cover everything from writer’s block to historical events to heartbreak to political activism. All in a somehow cohesive package that drags you through the rabbit hole.

    Featured image by Daniel Bergeron.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/brokensoundla/
    https://www.facebook.com/p/Broken-Sound-100087981825365/
    https://brokensound.bandcamp.com
    https://www.youtube.com/@brokensoundLA
    https://music.apple.com/us/artist/broken-sound/1657053310
    https://open.spotify.com/artist/2qlFUcMBiKeHoYqWs6EiTh

    Streetlights – What’s Your Name Again?

    By
    Ryan Martin
    -
    Streetlights
    Streetlights

    Streetlights have today released their new single titled ‘What’s Your Name Again?’. Fun for the end of summer, whenever summer ended. This is one of those tracks that forcefully move your feet and give you that tiny personal world of splendor and awe in the middle of a shitty day.

    Harmony and heart combine spectacularly with this track from a set of fresh young artists that take their songwriting to the next level. Somewhat an anthem, if anthems were meant to be cool, and an all-inclusive track that makes the audience include itself in the party, ‘What’s Your Name Again?’ will definitely make some of you wonder, ‘what’s that band again?’ because you got too into the track and feverously try to find that song again. Yes, it’s one of those songs.

    About Streetlights

    Boorloo/Perth indie-rockers Streetlights return with ‘What’s Your Name Again?’, a wide-eyed tale of falling headfirst for a stranger on the morning commute. Out Friday, October 10, the single captures the rush of blind infatuation, that split-second spark from locking eyes with someone across the bus, and the ache of watching them vanish before you ever learn their name.

    For the uninitiated, Streetlights emerged in 2021 and have built steady momentum since, releasing a string of singles and their debut EP ‘Bad Actors’ (2024), and still kept the pace going. Along the way, they’ve lit up stages in support of favorites like DICE, Surf Trash, The Stamps, and Death by Denim, while drawing support from triple j, Spotify, Happy Mag, and more.

    With a productive year under their belt, playing multiple sold-out shows as well as releasing an incredibly energetic cover of the 80s Tears for Fears classic ‘Everybody Wants to Rule the World.’ It’s exciting to see the band releasing new music to follow it up.

    With wiry guitars, kaleidoscopic synths, and a restless, smitten energy, Streetlights shape ‘What’s Your Name Again?’ into a bittersweet indie rock anthem. Layered harmonies melt into smooth, buttery vocals, swelling into a chant-along chorus that’s impossible to shake.

    ‘What’s Your Name Again?’ bottles the rush of a fleeting connection, the kind that sparks on a crowded bus or train only to vanish just as quickly. It tells the story of locking eyes with a stranger, feeling that instant pull of love at first sight, and then watching them disappear at the next stop.

    Speaking on the track, front man John Toplis says, “You’re catching the bus and someone hops on and goes to sit directly across from you. You lock eyes and BAM! – you’ve fallen in love with a stranger, only for them to get off at the next stop”

    ‘What’s Your Name Again?’ is a reminder of how quickly love can spark and as swiftly slip away, a fleeting moment set to irresistible indie rock. Streetlights will celebrate its release with a single launch at Lyrics Underground, Maylands (Perth) on October 25, inviting fans to fall headlong into the rush with them, chorus and all.

    LINKS:
    https://streetlightsperth.bandcamp.com/
    https://www.instagram.com/streetlightsperth
    https://www.tiktok.com/@streetlightsband
    https://open.spotify.com/artist/0lsHTqAlrKJhR6F4t2YHib
    https://www.youtube.com/@streetlights1753
    https://www.facebook.com/streetlightsperth

    Rare Breed – Self Destructive

    By
    Ryan Martin
    -
    Rare Breed
    Rare Breed

    Rare Breed has today dropped their new single titled ‘Self Destructive’. This is exactly what I needed when I hit that play button a few seconds ago to invigorate me on this Friday morning. Hard, lucid, and melodic in that gritty and destructive way. The vocals are dirty and immaculate, as they take the band to that final destination that we all need to be in.

    Think the next evolution of Alice In Chains meets a future of what alt-metal is slowly molding into. Combining genres that have nothing to do with each other while staying relevant and original is a hard set of tasks to juggle, but, damn, this is infectious. On many levels.

    “Self Destructive is a song about the unhealthy habits people fall into to cope with hardship in their lives, which in turn makes things worse for themselves. The lyrics focus on insecurities and self-loathing, along with a descent into addiction as a result. This is a much different track for us musically as well, combining elements of shoegaze and grunge with our usual alternative metal sound.”
    Rare Breed

    About Rare Breed

    Formed in 2019 when the members were in secondary school, Rare Breed is a band from the north east of England. Combining an aggressive, fast-paced style with emotional vocals and catchy melodies, the band plays a unique mix of emo, hardcore punk, grunge, and metal, along with influences across many other genres. The band is noted for their incredibly high-energy shows and performances, releasing their first singles in 2023, along with their debut EP ‘Not Quite the High Life’ in 2025.

    Previous singles ‘Psycho’, ‘Hellbound’ and ‘Drowning’ surpassed all expectations and opened the door to industry interest due to their raised profile across the airwaves and on stage where they stamped their authority!

    LINK:
    https://linktr.ee/rarebreeduk

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