Los Angeles-based alternative rock band Slothrust has released a new single and accompanying lyric video titled “Burn the Deck.” The track marks the group’s first offering of new music since their 2025 Wildcard EP and serves as their debut release following a newly announced partnership with independent rock label Equal Vision Records.
Thematically, the new single functions as a surrealist disruptor’s anthem. The track encourages listeners to dismantle restrictive systems, carefully examine their consumption habits, and challenge their internal notions of control, ultimately focusing on breaking free from self-imposed limitations and cages.
To support the release, Slothrust has announced “The Dystopian Theatre Tour,” a full United States run scheduled for this fall. The tour kicks off on September 15 in Omaha, Nebraska, features an appearance at the 2026 Riot Fest in Chicago on September 18, and concludes at The Bellwether in Los Angeles on November 18, with support provided by The Velveteers and Um, Jennifer? in select markets. The band is currently preparing to announce further details regarding their forthcoming debut full-length project with Equal Vision Records.
Azerbaijani singer-songwriter Sabina Beyli has released a new single titled “Novocaine.” The alternative pop-rock track was produced by Mike Midura, who recently collaborated with the artist on her previous material.
Musically, the new track delivers a blend of alternative rock and pop-rock infused with gothic elements. Thematically, “Novocaine” explores concepts of romance and love, adding a new emotional layer to Beyli’s recent catalog of heavy anthems that tackle subjects highly relatable to young women.
Originally from Azerbaijan and now operating between Boston and New York, Beyli holds the distinction of being the first Azerbaijani woman to graduate from the Berklee College of Music. “Novocaine” serves as the latest addition to her growing catalog, following the recent releases of her previous singles “Bad Habits” and “Culprit.”
L-R – Matt McGuire – Drums, Thomas Ireland – Guitar, Tom Emmans – Vocals, Eric Camilleri – Guitar
Debut EP in Memory of Bassist Dale Burrows
Ontario metalcore force As Oceans Divide continue their ascent with the announcement of their next single, “World Collapse”. The track marks the third release from the band’s upcoming self‑titled EP, following the momentum of previous singles “White Noise” and “Into The Dying Light.”
The lyric video for “World Collapse”expands the EP’s overarching themes of tension, internal conflict, and emotional weight, concepts visually represented in the EP’s striking artwork: a chained sea serpent wrapped around an anchor, thrashing against a violent ocean backdrop. The imagery mirrors the band’s sonic identity: a constant push and pull between aggression and melody, chaos and control, heaviness and atmosphere.
Track Listing:
Into The Dying Light – 4:04
White Noise – 3:31
World Collapse – 3:16
Cursed Oblivion – 3:59
One Of The Herd – 3:25 EP Length: 18:15
“World Collapse” delves deeper into the EP’s emotional core. While “Into The Dying Light” explored acceptance, resistance, and the confrontation of one’s breaking point, “World Collapse” widens the lens, capturing the feeling of everything falling apart at once, both internally and externally.
Musically, the track blends the band’s signature elements of technical, hard‑hitting riffs, dynamic melodic passages, atmospheric tension, and a powerful vocal performance from Tom Emmans that shifts seamlessly between aggression and clarity. The result is a song that feels massive, immersive, and emotionally charged, an embodiment of the EP’s core contrasts.
As Oceans Divide’s debut EP is built around contrast. Every track balances intensity with reflection, heaviness with melody, and chaos with structure. Lyrically, the EP dives into themes of internal struggle, loss, resilience, and the weight of what lies beneath the surface. The band describes the EP as “a journey rather than a collection of parts,” with each song crafted to pull listeners in, hit hard, and leave space for emotional connection.
Forged from years of friendship and a shared legacy in Canadian metal, As Oceans Divide brings together members with roots in Bloodshoteye, Aquila, Odium, Battlesoul, and more. Their sound blends early‑2000s metalcore influence with modern precision, harmonized guitars, mid‑tempo anthems, technical aggression, and emotionally driven vocals. The lineup includes Tom Emmans (Vocals), Eric Camilleri (Guitar/Songwriting), Thomas Ireland (Guitar/Production), and Matt McGuire(Drums).
The band also honours the memory of bassist Dale Burrows, whose passing in March 2026 left a profound impact on their music and their brotherhood.
Recommended for fans of Killswitch Engage, All That Remains, Unearth, and God Forbid.
Japanese metal guitarist SAKI has announced the international release of her debut solo instrumental album, PLUVIA. Originally launched in Japan through King Records, the full-length record is scheduled for an international CD release on August 26 via JPU Records. The new album features an array of prominent guest musicians from the international rock and metal scene, including guitar virtuoso Gus G. and bassist Frédéric Leclercq alongside acclaimed drummer Senri Kawaguchi.
Focused entirely on instrumental compositions, the album was developed with a heavy emphasis on melody and technical precision. The record’s title and central theme draw inspiration from rain, a recurring element throughout the guitarist’s major career milestones. PLUVIA showcases this thematic and collaborative approach across its tracklist, featuring Gus G. on “Flores a Flores,” Leclercq and Kawaguchi on the closing track “GERMINANS,” and rhythmic contributions from Japanese musicians hibiki and Kagemaru on “REDEMPTION.”
Widely recognized as a founding member of NEMOPHILA and the lead guitarist for Mary’s Blood, SAKI has established herself as a prominent figure in the modern Japanese metal landscape, maintaining the highest rank for a female guitarist in BURRN! magazine’s readers’ poll for nearly a decade. Following the international chart success of her previous solo instrumental singles, this new release through JPU Records will include exclusive video-on-demand bonus content, featuring a behind-the-scenes documentary with English subtitles and opportunities for fans to receive signed photo cards.
Tommy Lee says the physical demands of drumming for a rock band like Motley Crue for so many years is the reason he is a “skinny f***”.
Lee, 63, has maintained the same trim physique throughout his career, despite eating “whatever the f*** I wanna eat.”
And the reason for that, he says, is the sportsman-like level of workout he puts in every time he gets behind the kit.
He tells the Joe Rogan Experience: “I was like, ‘how come I’ve weighed the same weight since f***ing high school until today. That’s f***ing weird.’ And I eat kind of whatever the f*** I wanna eat.
“I don’t diet or have some strict regimented food program. I was, like, ‘I gotta see.’ I got like a pedometer you clip on to your shoe, like joggers would use.
“You just clipped it on your shoe, and it told you how many miles you did. So I get one, I clip it on. I’m, like, ‘I wonder how many miles I’m doing after a two-hour show.’ I know I’m sweaty as f***, and after the show, all I hear is ringing in my ear, and I’m wrecked; I’m done.
“And I took it off after the show, and I looked down, and it said 13.3 miles. And I was, like, ‘so that’s why I’m a skinny fuck.'”
Playing drums in a rock band is “more like a sport,” Lee adds. “And you’re the f***ing heartbeat, man. People say your band’s only as good as your drummer, and that’s really true.
“And I’m not just saying that because I’m a drummer. But a drummer has a lot of responsibility. Everybody, all the people that you see out there that are moving. I’m responsible for a lot of that.
“And I’m not saying for all of it, but you sort of set the pace and you’re making people physically move. That takes a lot of work. The amount of energy you’re putting out you’re getting back, and you’re seeing it.
“And you’re, like, ‘f***, I’m driving here.’ And that’s a cool place to be. But it is a responsibility, and it is physical, and it’s draining. But it’s f***ing rad. I live for it.”
A Perfect Circle’s “Thirteenth Step” returns in the Definitive Sound Series vinyl reissue, using One Step mastering for enhanced clarity, depth, and dynamic range, arriving Aug. 28.
The song opens with an immediate emotional impact, characterized by a heavily reverberated voice. This vocal quality touches the heart, and the melody along with the keys, creates a pop anthem feel. The sound gradually builds with an increasingly engaging groove that evokes epic vibes. It’s a celebration of everlasting love, one of those fortunate experiences where you find your soulmate, someone who supports you through tough times.
With a partner by your side, life’s battles become more thrilling and emotionally rich. You can share the ups and downs, transforming challenges into shared victories. The track embodies a very pop-centric sound, making it likely to reach the top of the charts due to its infectious qualities. This gives listeners a sense of hope and excitement infused throughout the song.
Around the two-and-a-half-minute mark, a guitar solo adds a surprising rock element to the piece. This unexpected twist provides a refreshing variation that guides the listener toward the conclusion. It’s a delightful addition that enhances the overall experience of the song. The solo stands out yet complements the earlier sections well, adding depth to the emotional journey.
BattleField Of Love – Sound and Atmosphere
The song is well-constructed, featuring effective harmonic and dynamic variations. The transitions between the sections are perfect.
The layers of music meld together flawlessly, enriching the overarching theme of love and resilience. The instrumental components work harmoniously to set the mood, with the piano and drums driving the pace forward. This creates a backdrop fitting for the song’s overriding message of unity in love.
Vocals soar above the instrumentation, offering a heartfelt performance that resonates with the audience. The singer delivers each line with sincerity, drawing listeners deeper into the narrative of the song. The feeling of warmth and togetherness permeates every note, creating a sense of belonging.
BattleField Of Love – Performance and Production
As the song progresses, it reveals various emotional shades. Listeners can experience joy, nostalgia, and even moments of introspection. This emotional journey is significant, allowing everyone to relate to their own experiences of love and partnership. The uplifting nature of the music fosters a sense of community—listeners feel part of something greater.
The rhythm never falters, encapsulating the essence of persistence in love. Each beat celebrates the strength that comes from being in a supportive relationship. This empowering message can inspire individuals to appreciate their relationships more deeply.
This single is a well-executed venture into the realm of modern pop. It combines emotional resonance with musical innovation. Matthew Phillips delivers a solid piece with “BattleField Of Love.” The track is rich, vibrant, and filled with dynamic contrasts. It is a worthy addition to any pop lover’s playlist and a track that should resonate with many.
The single “Sunburn” by FREQUENCY OVERLOAD begins with powerful chords and a drumline that seems poised to explode. The atmosphere quickly becomes profound and intense. As the vocals enter, enhanced by effects reminiscent of Ozzy, the track immerses listeners in its dark and hard rock essence. This song is not merely an auditory experience; it unfolds like an adventure. It tells an incredible story that feels deeply personal and transcends mere entertainment.
“Sunburn” serves as a rock anthem that delves into themes of pain, addiction, and a promise kept for thirty-seven years. The lyrics recount the tragic loss of the band’s frontman’s brother, Robert, who died in a car accident in 1987. This personal tragedy plunged him into darkness, yet he never forgot about Robert’s unborn son, a familial connection that had faded with time. Decades later, in 2024, a reunion occurs, bringing relief and closure.
The essence of the song transforms pain into redemption. It illustrates how certain wounds may never completely heal, yet they can guide love back to its origins. “Sunburn” paints a vivid picture of a life that has been lost but is reborn from the seed planted by the brother. The lyrics metaphorically close an infinite circle of life, resonating with listeners on multiple levels.
Sunburn – Sound and Atmosphere
This introspective approach renders the song a rarity in today’s musical landscape, where disingenuous emotions run rampant. The composition of “Sunburn” feels authentic and relatable, drawing listeners into a twilight space where the realities of life and death are rendered strikingly close.
The emotional intensity of the piece ensures it resonates profoundly within the listener’s soul. “Sunburn” is genuine music that encourages listeners from all walks of life to engage with its themes. Its blend of hard rock anthem is enriching, especially in a time when so much music feels superficial. The band’s commitment to creating something real is evident in every aspect of this song.
Sunburn – Performance and Production
FREQUENCY OVERLOAD successfully harnesses its raw emotional energy and channels it into a structured composition. The combination of dark storytelling intertwined with rock’s heavier elements makes “Sunburn” an impactful piece.
Listening to “Sunburn” is an experience that encourages self-reflection and acknowledgment of one’s past. The weight of the message coupled with the dynamic instrumentation makes for a powerful combination. This single will likely resonate with anyone who has faced loss or is seeking to heal from the past.
FREQUENCY OVERLOAD has crafted a narrative that is not only personal but universally relatable, showcasing that true art can help the creator and the listener confront deep-seated feelings.
This is more than just a song; it is an invitation to embrace life’s complexities and seek redemption in the midst of pain and sorrow.
On November 8, 1975, NME magazine ran a live review of a Ramones and Blondie show at the Performance Studio on New York’s Lower East Side. Though the Ramones would not release their debut album until the following April, there was already a buzz around the Forest Hills, Queens quartet, who were racking up rave reviews in the New York-area rock press. Understandably then, NME writer Charles Shaar Murray was somewhat bemused to find that the group were playing to “a total audience of – at final count – 27 people, nine of whom were photographers.” Clearly, the hotly-tipped New Yorkers had a way to go before becoming the city’s Next Big Thing.
“The Ramones, though, are a band that the London rock scene could really use,” the man from NME told readers. “Jeez, I’d give a week’s pay just to see them explode over an unprepared audience at, say, Dingwalls. They’re simultaneously so funny, such a cartoon vision of rock and roll, and so genuinely tight and powerful that they’re just bound to enchant anyone who fell in love with rock and roll for the right reasons.”
Charles Shaar Murray’s words did not go unnoticed by Ramones’ canny manager Danny Fields. The New York Dolls’ profile in their hometown was boosted after the group undertook a UK tour in 1973, landing a slot on BBC TV’s The Old Grey Whistle Test while in London, and Fields realised that if he could generate a buzz around Ramones in the UK, it would make Anglophile music fans in the US pay more attention to his band. And so a whistle-stop visit was planned for July 1976, with two shows booked: a gig supporting The Flamin’ Groovies at London’s 3,000-capacity Roundhouse venue in Camden on July 4 (with The Stranglers opening up), and a headline show at the 500-capacity Dingwalls club, also in Camden, the following evening.
Contrary to a popular myth constantly repeated to this day, no members of the Sex Pixtols or The Clash were present at The Roundhouse on July 4: the two bands were playing Sheffield’s Black Swan pub that very night, The Clash’s support slot being their first ever gig. But among the Roundhouse audience were members of The Damned, Gaye Advert, Adam Ant and future Pogues frontman Shane McGowan.
“It’s now seen as this big iconic, historical thing – the visit that lit the torch-paper for UK punk – but it didn’t feel legendary at the time,” Danny Fields once told me. “But it was astonishing in that there were more people there than they had ever cumulatively played to in their career at that point. I mean, most of my work before that with them was getting them ‘jobs’ – Johnny [Ramone] always called them ‘jobs’, not gigs – and here we were in one of the world’s most important cities and there were thousands of people there, and people being turned away.”
“There were people waiting at the hotel to sleep with us all,” Fields noted in Ramones documentary End Of The Century. “You can tell it’s pretty good if people are lined up to fuck the roadies and the managers.”
On July 5, the turn-out for Ramones’ first UK headline show was impressive. Among those in attendance were Brian James, Rat Scabies and Captain Sensible from The Damned, Joe Strummer and Paul Simenon from The Clash, JJ Brunel from The Stranglers, John Lydon and Glen Mattlock from Sex Pistols, future Sex Pistol Sid Vicious, and future Pretenders leader Chrissie Hynde.
“I remember Johnny Ramone and Paul Simenon talking beforehand,” Dany Fields told me. “Paul said, ‘We played our first show last night: no-one wants us because we don’t know what we’re doing, and we’re not good enough.’ And Johnny said, ‘Wait, you haven’t seen play. We stink! We can’t play! Just do what we do… just play!’ But I also remember Joe Strummer later saying, ‘You couldn’t slide a cigarette paper between any two of their songs’ so I guess people were impressed. Plus, those gigs showed promoters that there was an audience for punk, and that was important too.”
“They kickstarted the whole thing in a big way,” Captain Sensible insisted.
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