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BLOODY RUN LOST RIVER Review

The album opens with “The Flood.” This track presents an atmospheric and cinematic introduction. String instruments create a sci-fi and dystopian ambiance. The atmosphere intensifies as the band joins in with guitars, vocals, and drums. The sound is crepuscular and intense, setting a dramatic tone for the album.

“Reason with Animals” continues the band’s visionary approach. The rhythm becomes intricate and sinister. The vocals arrive sharp and powerful, delivering screams that resonate deeply. This song captures a sense of urgency. Its energy propels the listener into a state of reflection and intensity.

Following this, “In the Balance” serves as a transitional piece. It creates a moment of suspension within this sonic journey. The song’s structure promotes a feeling of introspection. It stands as a brief respite before the tumultuous tides of the following tracks.

LOST RIVER – Sound and Atmosphere

“The Watchtower” is another alternative ballad filled with dystopian vibes. The band skillfully melds alternative elements with hints of metal, particularly in their vocal delivery. This track feels epic and intense, showcasing a strong lyrical and melodic framework. Its themes resonate, drawing the listener into their compelling narrative.

With “Weeds,” the album dips into darker territory. This song transports the audience to another dimension with its hypnotic atmosphere. It is introspective and intense, maintaining a gripping energy. The instrumentation and lyricism converge, enhancing the song’s depth and emotional intensity.

The title track, “Lost River,” also stands out. This song offers cybernetic vibes reminiscent of films like “Blade Runner.” It encompasses themes of desolation and exploration. The instrumentation supports a narrative that reflects a journey through unknown territory. The melodies are rich and inviting but also tinged with a sense of melancholy.

LOST RIVER – Performance and Production

The album concludes with “Old Wounds.” This song encapsulates the essence of this band. The sinister yet thoughtful chords pair with a voice that feels melodic and intense. There is a constant glance into the abyss, suggesting profound themes of loss and reflection. It is a fantastic track that effectively closes this impressive album.

Overall, “Lost River” showcases the band’s ability to craft intricate musical landscapes. The lyrics, paired with the instrumentation, create a cohesive narrative. Each song progresses the story, building upon the themes of introspection and exploration. The production quality is excellent, allowing every instrument and vocal nuance to shine.

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The post BLOODY RUN LOST RIVER Review appeared first on Edgar Allan Poets – Noir Rock Band.

It’s been a slow yet steady rise for Pete Roth whose first two albums – 2011’s “Meridian” that was released under the British guitarist’s name, and 2014’s “Circus In The Sky” that was credited to PETER ROTH BAND – found … Continue reading →

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As AI inexcusably blitzes a forgettable culture of monotonous mediocrity, Deep Purple auspiciously land with a balls-to-the-wall Splat! to the good old days. This is what you call ‘musicality’ kids. If a band that spacetrucked and highway starred in the 70s can still produce songs this energetic and euphoric in their 70’s, there lies a greater hope that rock ‘n’ roll can keep sticking two fingers up to those vociferating for its obituary.

Rather ironically, this conceptual record explores the end of humanity. But not in the dire, terminal apocalyptic flaunt its oddly, onomatopoetic title suggests. Instead, it dissects the transformational finale of humanity, with frontman Ian Gillan envisioning it as a metaphor for our race metamorphosing into a metaphysical state, similar to butterflies. 

With songs like the busty boom of “Jessica’s Bra” (born from an unfortunate type of the word ‘bar’) and the dizzying chorus hook on “The Only Horse In Town” (which sees Gillan’s lyrics gallop into a conversation between a man and a horse), it’s not the easiest hypothesis to deconstruct.

But who cares? The music is as heavy and wild as classic Deep Purple, yet still fresh and vital. There’s no denying this lineup works exceptionally well.=1 was the band enjoying a renaissance, but this is the sound of five gents upping the fun and fire — roaring, purring, and as explosive as they’ve ever been.

While there’s no sprawling, drawn-out epics, most tracks crack along at a rousing pace. Everywhere you turn, there are speedy, virtuosic instrumental passages, rollicking dialogue between the guitars and organ, and of course, the original vocalist, drummer, and bassist all agelessly strutting their stuff. 

The interlude on lead single “Arrogant Boy” is one of the best things I’ve heard in years. It’s fresh, tight, and unmistakably DP. Jon Lord will live in the heart of all Deep Purple fans, but the ingenious keyboard skills of Don Airey never fail to amaze, with his Hammond solo on the devilishly good riffing of “Diablo” a personal highlight.

The exhilarating “Guilt Trippin’” might be their finest work this millennium, as a graceful jazzy piano intro is met by the evergreen Gillan unleashing some signature banshee wails, before the track descends into peak cosmic chaos. It’s the closest we get to the proggy side of Purple, but amid the titanic keyboard/guitar solo duels, there’s still room aplenty for the three pillars to shine.

Roger Glover’s fluid bassline on the funky “The Beating of Wings” matches MacBride’s fire-breathing tone, giving the band a truly incredible and vibrant energy, while one of rock’s greatest sticksman Iain Paice effortlessly pounds the skins on another pulsating shift in “Third Call.”

These aren’t men who are merely coasting on past glories. They still have a lot to say, yet absolutely zilch to prove. The new songs, musicianship, and the production (huge credit to Bob Ezrin) are top-class.

Splat! will hit you square in the face and you’ll feel all the better for it.

The Review: 9/10

Can’t Miss Tracks

– Arrogant Boy
– Guilt Trippin’
– Third Call

The Big Hit

– Guilt Trippin’

The post Deep Purple: Splat! Review appeared first on Blues Rock Review.

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Haunt me
Take everything
Everything you want from me
Won’t let me be
So far gone 

To want someone who is bad for you is to kneel before a beautiful fire crackling in the dark, place your hand in the flame, and mistake the burning for proof that the feeling is real. Desire can turn into a kind of faith, where every wound becomes scripture, every absence an altar, every small kindness a false resurrection. The mind, desperate to make suffering mean something, mistakes the pain for depth and possession for devotion. This kind of fixation survives because beauty keeps excusing the damage. It teaches the heart to confuse ruin with revelation, to believe that being hurt by someone is proof that the feeling is profound. You know this person is poison, yet the poison gives your longing a shape. That is the torture: part of you sees the cage, names the bars, and still polishes them until they shine.

Dark Chisme plays The Roxy Thursday, July 2, 2026, with Spike Hellis, Meldamor, and Pride Month Barbie.

Purchase tickets here

Beautiful Obsession Killer is a track featured on Dark Chisme’s self-titled debut album. Listen below and order the album here.

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The post “Haunt Me, Take Everything” — Seattle Darkwave Duo Dark Chisme Shares Video for “Beautiful Obsession Killer” appeared first on Post-Punk.com.