Bandcamp [Release date : 09.07.26] Rob Tognoni’s ‘Black On Black’ is a hard rocking album, full of his unrelenting energy, focussed intensity and uncompromising lyrics, which frequently mirror his steely riffs (or vice versa). ‘The Tasmanian Devil’ enjoys moments of … Continue reading
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Olivia Rodrigo’s Daisy Chain Fields festival is coming up this Saturday, and ahead of the festivities she has shared a new song inspired by The Handmaid’s Tale. “Serena Joy” is named for a character in the book and TV series, a former Christian media personality married to a high-ranking government official, who comes to regret her complicity in the United States’ descent into Christo-fascist military dictatorship. The song was first released over the weekend as a limited edition CD single sold only at Orange County’s Analog Record Shop, near the festival site of Great Park in Irvine, California.
The post Olivia Rodrigo – “Serena Joy” appeared first on Stereogum.
Temic certainly lived up to the hype with their chart-topping debut, but the international prog supergroup has grown by leaps and bounds on their mighty and magical second album. Fans and critics are trembling in anticipation for Ceiba, the group’s thunderous ode to loss.
“Temic are back in full bloom with Ceiba”, Metal Injection writes in this month’s edition of the Progressive Injection, and Prog Magazine agreed, naming the album’s lead single “Ceased to Be” a track of the week.
Today, Temic is releasing the second advanced single from Ceiba. “Broken” bares the album’s soul with grief and grace.
“‘Broken’ is built around overwhelming emotion and honesty”, Temic vocalist Fredrik Klemp says. “We wrote the song in 30 minutes. It came together instinctively. There was no need to overthink it or make it into something more than what it already was. We simply allowed it to be what it is. I think that’s where the song gets its strength”.
“The honesty of this song became very important to my vocal performance”, Klemp continues. “It connects to experiences and emotions that are deeply personal to me. Rather than distance myself from them, I wanted to let those emotions come through in my voice. My performance sits deliberately close to the edge, fragile and unsteady, as if it could give way at any moment”.
Ceiba is available to pre-order here in the following formats:
The post TEMIC Grieve with Grace on New Single “Broken” From Upcoming Album “Ceiba” appeared first on Sonic Perspectives.
Members of Lorna Shore, August Burns Red
Dying Fetus, 156/Silence and others also appear in the clip.
The post Signs Of The Swarm’s Video For Their Cover Of Rob Zombie’s “Dragula” Debuts, Bam Margera Among The Many Guests appeared first on Theprp.com.
(written by Islander) Time flies when you’re having fun. It still flies when life looks like sheer hell, with nothing but more hell to come and no way of stopping the misery. More than two years have flown by since we last commented about the music of the Florida-based death/doom band Wharflurch. The occasion then […]
The post AN NCS PREMIERE: WHARFLURCH — “HEADLESS GOD” appeared first on NO CLEAN SINGING.
“Lucky Star,” the new song from the Bay Area alt-rock duo Sour Widows, is not a Madonna cover. Back in 2024, Sour Widows had a single called “Cherish,” and that wasn’t a Madonna cover, either. At this point, Sour Widows should really just work their way down the entire Immaculate Collection tracklist and repurpose every title. The strategy seems to be working out for them.
The post Sour Widows – “Lucky Star” appeared first on Stereogum.
Me and Atomic Aggressor go back a ways. I remember back in college, I somehow ended up in possession of their 2008 compilation Rise of the Ancient Ones, a raw and savage collection of songs that essentially comprised what was then the entire discography of this cult Chilean death metal band. Sadly, featured works like their apparently infamous 1989 demo Bloody Ceremonial proved too barbaric and unpolished for someone just starting to explore the extreme metal underground, and I ended up shelving the CD until well after I sprouted my first gray hair. As such, I spent most of their set at the 2016 Hells Headbash taking a nap on a barstool, and I entirely missed that Hells Headbangers put out the band’s long-awaited full-length debut, Sights of Suffering, in 2014. When I finally discovered Suffering a few years after its release, I realized just how much I’d been missing out. That record was an absolute banger of a death metal album that combined an olde-school ethos with a potent production job and an air of archaic, Lovecraftian mystery. After 2019’s solid Invoking the Primal Chaos EP, this Chilean death troupe are now finally back with their second album, The Occult Forces.
As one might expect from a band over four decades into their career, little has changed stylistically from Atomic Aggressor’s past works. While the group’s “nuclear warfare” moniker suggests something that’s war metal adjacent, in actuality the band play the type of ancient, thrash-infused death metal that treads the same dank corridors as Sadistic Intent and their Peruvian peers in Mortem. Songs barrel forward on crunchy and galloping riffs that often morph into sinister and shadowy tremolos before bursting into bouts of wild and surprisingly adept solos. All the while, vocalist and bassist Alejandro Díaz delivers a demonic and raspy growl that hasn’t lost a bit of intensity over the years. This is clearly a group that was forged in the fires of the 80s and maintains those influences proudly, with the blood of early Morbid Angel oozing from every orifice of these eight songs. “Forms from the Occult,” in particular, combines slithering and belligerent chords in a way that sounds like a lost cut from Blessed Are the Sick. Likewise, some riffs in “Evil from Beneath” sound like they were conjured from the same black ritual that gave us “Damnation” from Altars of Madness.
Perhaps unsurprisingly, the band excel on The Occult Forces not by pushing the envelope, but by nailing the execution of their chosen sound. From Alejandro’s vocals to the relentless riffs of founding guitarist Enrique Zúñiga and fellow axe-slingerJulio Bórquez, the group sound downright invigorated throughout these 43 minutes. This is particularly apparent on the opener, “Souls Degradation,” which careens forward with spunkier and jumpier riffs than I ever recall hearing from the band. Other songs further differentiate themselves from the past. The aforementioned “Evil from Beneath” features some surprisingly melodic ideas that faintly recall old At the Gates, while “Dwellers of the Unknown” combines hostile riffs with a recurring, cinematic motif and a brief, ghastly midsection of particularly raspy vocals. Through it all, the production once again remains clear and powerful without sacrificing any of the band’s otherworldly mystique.
The biggest quibble here is that, at times, Atomic Aggressor seem a little too comfortable. The band never get particularly fast or slow and instead charge forth at a similar tempo throughout, even though a doomy segment here and there would have gone a long way. Likewise, many of these songs feel somewhat labyrinthine in construction and are thus fun to explore but don’t always immediately embed their hooks into your flesh. Fortunately, aside from the redundant-sounding (and strangely-titled) “Divided to Conceived,” every song crafts its own wicked identity, and each track is absolutely littered with manic guitar leads. This is no more true than on the closer, “Tormenting Voices,” which strikes with especially aggressive riffing and a series of dueling solos that close the album in grand fashion.
Given the band’s age and slow release rate, I’m not sure if we’ll ever see another record from Atomic Aggressor. While that’d be a huge bummer, The Occult Forces would certainly be a worthy swansong. This is a record that proudly wears the cracked leather jacket of the oldest of old school death metal, an album that steadfastly waves the banner of South American extreme metal while offering exactly the sort of thrashing, no-frills death metal that this world needs far more of.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps
Label: Hells Headbangers Records
Websites: atomicaggressor.bandcamp.com | facebook.com/atomicaggressor
Releases Worldwide: August 28th, 2026
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Multi-platinum, award-winning violinist Lindsey Stirling today announced the return of her Snow Waltz Holiday Tour, bringing her dazzling combination of music, dance, aerial acrobatics and theatrical production to audiences across the United States this holiday season.
The 25-city tour begins November 18 in Hollywood, Florida, and includes three performances in Las Vegas, along with stops in Syracuse, Philadelphia, Tucson and more. The announcement follows the recent gold certification of Stirling’s chart-topping 2017 holiday album, Warmer in the Winter, featuring her hit rendition of “Carol of the Bells.”
Tickets for Stirling’s Snow Waltz Holiday Tour 2026, her ninth seasonal trek, go on sale starting Friday, August 28, at 10:00 am (local time) here.
Announce: Monday, August 24 at 7 AM PT // 10AM ET
CITI Presale: Wednesday, August 26 at 10 AM local
Artist Presale: Wednesday, August 26 at 12 PM local
Local Presales: Thursday, August 27 at 10 AM local
All Presales End: Friday, August 28 at 9 AM local
General Onsale: Friday, August 28 at 10 AM local
Citi is the official card of the Lindsey Stirling Snow Waltz Holiday Tour. Citi card members will have access to pre-sale tickets beginning Wednesday, August 26 at 10 am local time until Friday, August 28 at 9 am local time through the Citi Entertainment program. For complete pre-sale details, visit here.
VIP tickets can be purchased here, which include exclusive experiences, including front-row seating, a meet & greet, exclusive Lindsey Stirling Collectible Blind Box Characters, and an invitation to a pre-show experience. There, fans can check out a Christmas gallery featuring costumes and memorabilia curated by Lindsey, a special photo opp, and so much more.
“I put a little bit of spookiness into it,” she said about her unique holiday concert performances. “I’m a big fan of The Nightmare Before Christmas as well as Harry Potter, which I feel like marries a little bit of that magic and spooky.”
Lindsey has indeed become a holiday staple, a “must-see” yuletide concert stage performer since the release of her first Christmas album, the chart-topping Warmer in the Winter, and its Top 10 AC radio single “Carol of the Bells.” Her second Christmas album, Snow Waltz, also reached #1 on the U.S. Top Classical Albums and hit #2 on the Top Holiday Albums chart. Stirling’s annual Snow Waltz Tour, with over 1 million tickets sold across nine years, delivers a magical holiday experience with whimsical yet daring choreography, stunning visuals, and genre-defying arrangements of holiday classics and originals that captivate fans of all ages.
That is quintessential Stirling, an arresting artist who stylishly blends sonics with visuals and defies easy categorization. She mixes pop, rock, classical, hip-hop, and electronica, then tops it all off with meticulous attention to impactful, thematic album and video artwork.
Stirling’s auspicious introduction arrived in 2010 when she was a finalist on America’s Got Talent; however, things really kick-started once she uploaded her first video to YouTube. Her self-titled, now platinum-certified debut album in 2012 set the stage for six more lauded studio efforts, including 2014’s stunning Shatter Me, another gold-seller, and 2024’s Duality, an experimental opus that embraces Lindsey’s indie music spirit with extravagant soundscapes and guest performances by Royal & the Serpent and Walk Off the Earth. Duality also inspired a 40-date tour in 2024, and a deluxe edition featuring exciting new tracks alongside fan favorites including Chrissy Costanza, Rachel Platten, and Shuba.
Few artists embody the boundless creativity and gifts of the dazzling, multi-award-winning musician Lindsey Stirling. Known for her extraordinary talents as an electronic violinist, dancer, and performer, Lindsey’s spectacular live show tours with stunning frequency and continually sells out iconic venues around the globe. Her groundbreaking vision has gained her millions of adoring fans worldwide, four Billboard chart-topping albums and two Billboard Music Awards, including Top Dance/Electronic Album for her third studio release, Brave Enough. Her gold-selling holiday album, Warmer in the Winter, catapulted to the #1 spot on Billboard, Amazon, and iTunes Holiday Album charts upon release, and lead single “Carol of the Bells” made history as the only instrumental song ever to reach the Top 10 at AC Radio. Lindsey’s song “Shatter Me” featuring Lzzy Hale (of Halestorm) recently garnered platinum status. A New York Times bestselling author (and creator of her own comic book), Lindsey felt compelled to push her boundaries even further for her seventh full-length effort, Duality, ultimately embracing a whole new level of freedom in her songwriting.
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