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2025’s Addicted To You saw When Rivers Meet hit the UK charts in style with a top four placing. Full houses across the UK followed, with the band proving that live, they continued to be an enthralling draw. Rhythm Rust & Static is album number five for the husband-and-wife duo, Aaron and Grace Bond. A heady couple of years culminated in the birth of their first child earlier in 2026, but for this fiercely independent outfit, there is simply no rest.

When Rivers Meet – Rhythm Rust & Static

Release Date: 19 June 2026

Words: Paul Hutchings

Pushed back a few weeks due to vinyl manufacturing delays, this is an album that the couple want to deliver in the way they expect, with the people who support them getting the experience they deserve. “We’re sorry for the delay and truly appreciate everyone’s patience and support. We promise it’ll be worth the wait.”

Three singles have already dropped, the most recent being the bluesy groove of Caught In The Middle. Likely to be a fan favourite in forthcoming live shows, Aaron’s guitar work leads the way. The song has a bouncy vibe which will get fans clapping along, and it’s impossible not to tap the foot even on first listen. Grace’s smoky vocals are mischievous, whilst Aaron adds his own melodic harmonies to the song.

But it’s not as polished as previous music, with a nice, gritty edge that the band wanted. Tackling the emotional push and pull that plays with the mind, “Caught In The Middle is about being pulled between knowing you should walk away from something and still feeling drawn back to it,” explains Grace.

Addicted To You saw Aaron take a bit more vocal responsibility, something he did fantastically well, not surprising given his initial musical pathway was a singer. Fatal Attraction, for example, sees him back out front, throwing out a delicious hook and some sharp guitar work, whilst Grace is happy to add the harmonies here. 

Two songs that show the range that When Rivers Meet bring to the table. Yes, they are firmly rooted in the blues rock scene, but with every album they evolve, an organic development which builds on their previous achievements. 

There is the smoulder of opener The Tide Is Turning, followed by The Script. The first two singles from the album, they are instant hits, big guitar sounds and Grace in full flow, recorded in a way that allows the raw sound to power home.

The former has a fuzzy, scratchy guitar sound that resonates with early-day power, whilst still taking in the class of this outfit. The latter is a more composed, balanced track, which still has the edge that you want. A Classic Rock song of the week, no less, and with good reason, for it has a rowdiness that has not always featured in their music. Another change that works well. 

With Addicted To You the band went for a more polished sound. They have deliberately moved away from that here, to good effect. There is a rawness which accentuates their style, more at home with the sold-out yet still cosy venues they will pack out in a few months’ time.

Songs like I’m Ready For You ooze with the class they have always displayed, but with some added grit. “With our previous album, Addicted To You, we leaned into a much bigger, more produced sound,” explains Grace. “When we started thinking about the next album, though, we felt drawn to something a little more raw and intimate.”

They still have time for a ballad or two. This is a couple devoted to each other after all. But Horizon, and album closer Bring Life bear personal meanings that you cannot deny them.

Driven by their own determination to do things their way and without industry help, this is a big album for When Rivers Meet. “When Rivers Meet has never followed the music industry rulebook,” adds Aaron. “We’re proud to go our own way and our new album is a manifesto for doing just that.”

When Rivers Meet release Rhythm, Rust & Static on 19 June 2026. Pre-orders are available from the band’s website where you can also find tour tickets and a full list of dates.

The post When Rivers Meet / Rhythm Rust & Static Is Raw, Defiant And Unmistakably Themselves first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Jake Herring’s Pepe Le Pew is a confident introduction to the artist’s new creative chapter, blending indie and alternative influences with a polished, contemporary approach. The track showcases Herring’s knack for memorable melodies and expressive songwriting, while maintaining an effortless sense of cool throughout. Its production strikes a balance between modern accessibility and indie authenticity, allowing the song’s hooks and personality to take center stage. As a debut release under his new moniker, Pepe Le Pew feels both fresh and assured, signaling an exciting artistic evolution. The track serves as a promising statement of intent and an engaging first step into Jake Herring’s next musical era.

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[Cover art by Claudio Elias Scialabba]

Italy’s Into Darkness has been a band for approximately 15 years but is just now releasing its first full length album, Route to the Other Side, but all that time has been greatly beneficial to their growth. Over the preceding decade and a half, they’ve put out some EPs, splits, and demos, while undergoing various lineup changes (the current lineup carries the pedigree of both Thulsa Doom and Araphel members). They’ve also evolved from more of a death/doom band – likely gaining their moniker from genre legends Winter – to what appears at first blush to be a more down-the-middle style of death metal.

But dig deeper and you’ll realize how well-rounded a sound is achieved on Route to the Other Side. Sure, there’s plenty of the death/doom of the band’s roots, but much of the album is also quite thrashy and fast, and they also don’t shy away from a little melody when things call for it. Add in a largely natural production and mix, and you get a rather balanced sound that benefits from stout songwriting, but also from a nice nasty streak in the vocals of lone original member Doomed Warrior. Her throaty rasp carries with it more than a touch of Martin Van Drunen, helping to emphasize the touch of Asphyx already present in Into Darkness’ sound.

You’re also likely to hear some early Pestilence, Sinister, Beneath the Remains-era Sepultura, a touch of Finnish death, and various other influences depending on your particular listening history. This is not to insinuate that Route to the Other Side is just a “you’ll hear what you bring with you” album – it is not – but it’s clear that Doomed Warrior and her bandmates are accomplished students of the game.

Opener “Jupiter” shows off both the band’s great sense of balance and just how mean this platter of death can become. It bursts into existence with absolutely zero fanfare, showing off the splashy, punchy drumming, while sections of churning riffs and slower malevolence help to tie it all up. The ensuing “Saturn” then adds to the script with some real melody to cut through the thrashing death before passages of tremolo harmonies really stretch things out. Everything manages both a “serious death metal” vibe and an undeniable sense of escapist fun—not always the easiest feat.

Elsewhere, “Uranus” uses those Asphyx vibes in the heft and more tremolo harmonies to become one of the album’s major highlights; “Halley” pushes the doom side of the band farther than any other tune here; and “Pluto” gives the album a climax that is as swaggery as it is melodic and almost “epic” in tone. Not to belabor the point, but the band’s balance means that you’re likely to hear several influences depending on the passage. At times you’ll hear all that Dutch death metal at the core of this sound, but at others you might hear something like From the Lost Years…-era The Chasm, particularly in how the production gives things just a touch of atmosphere.

The only real caveat here is that some listeners might be looking for something a little less balanced – shreddier, more brutal, techier, less refined, etc. – fans of extreme metal do tend to like their extreme things, after all. But most listeners ought to find Route to the Other Side to be exactly what it is: a particularly stoutly performed and impeccably produced set of very well written death metal. It won’t change your death metal life, but it’ll keep you more than a little entertained over its brisk 41 minutes.

The post Into Darkness – Route to the Outer Side Review appeared first on Last Rites.

Adam Jensen’s Cellophane is a powerful alternative rock track that channels raw emotion through massive guitars, thunderous drums, and compelling songwriting. Embracing an organic, unpolished approach, the song captures the intensity of classic 90s rock while maintaining a contemporary edge. Jensen’s performance carries a sense of urgency that perfectly complements the track’s themes of confronting the weight of the past and the struggle to move forward. The production feels authentic and immediate, allowing every instrument to hit with maximum impact. Cellophane marks an impressive new chapter for Adam Jensen, showcasing both artistic growth and a fearless commitment to honest, guitar-driven rock music.

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Mind Tides’ Oasis in The Horizon is a captivating neo-psychedelic journey that blends dreamy indie textures with the laid-back spirit of surf rock. Built around hypnotic grooves, hazy guitars, and washed-out vocals, the track creates an immersive atmosphere that feels tailor-made for sunset drives and reflective moments. The band balances nostalgia and modernity with ease, drawing the listener into a warm, cinematic soundscape rich in melody and mood. Beneath its relaxed exterior lies a subtle sense of longing that gives the song emotional depth and direction. Oasis in The Horizon is an impressive introduction to Mind Tides’ debut album, showcasing both strong songwriting and a distinctive sonic identity.

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Thee Rat Catchers’ Something In Your Ear is a blast of raw garage punk energy, fueled by infectious riffs, relentless momentum, and an unapologetically rebellious spirit. Blending garage rock grit with rockabilly swagger, the track delivers the kind of high-voltage performance that feels tailor-made for sweaty club floors and late-night jukebox sessions. The band captures a sense of urgency and excitement without sacrificing melody, resulting in a song that is both rough around the edges and instantly memorable. Packed with attitude and driven by a powerful groove, Something In Your Ear is pure garage-punk dynamite from start to finish.

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After a few attempts that didn’t fully connect, the St. Louis singer was ready to walk away, but not before making a raw album of thrashed pop, “Worst Girl in America.”