Mile End Kicks, the Canadian indie rock rom-com starring Euphoria‘s Barbie Ferreira, arrives this Friday. The trailer was set to MGMT’s “Time To Pretend,” and now they had Avril Lavigne cover Alanis Morissette’s Jagged Little Pill hit “Ironic” for the soundtrack. On Instagram, the film’s official account wrote, “From one Canadian icon to another…. may…
The post Avril Lavigne Covers Alanis Morissette’s “Ironic” For New Canadian Indie Rock Rom-Com appeared first on Stereogum.
Review by JP Photos courtesy of special guest contributor Ryan Dyer EDITOR’S NOTE: It was a very last minute and spontaneous, on-site decision to review […]
The post UADA with Mortiis, Rome and WraithKnight Live in Calgary, Alberta, April 13, 2026 appeared first on Metal-Rules.com.
Last year Oneohtrix Point Never had a productive year with the release of his eleventh studio album, Tranquilizer, and the critically acclaimed Marty Supreme score. Now Daniel Lopatin is back with a new track called “Dim Stars,” as well as an extended version of the Tranquilizer opener “For Residue.” The songs arrive amid OPN’s extended…
The post Oneohtrix Point Never – “Dim Stars” appeared first on Stereogum.
Hush$$$’s .
The post Hush$$$’s debut EP ‘Let’s Do Business!’ now available first appeared on Sleaze Roxx.
You got your grip on my neck
Spit in my mouth and tell me what to do next
I’m afraid we’ve lost
Everything now
A plaintive song like All Said and Done slips under the door at 2 a.m., carrying the stale perfume of sex, smoke, and decisions you already know you’d repeat. You can hear the room inside it; the psychic square footage of one person pacing, rewinding, replaying, talking in circles to ghosts. Satin Stain, a Los Angeles-by-way-of-Canada presence, arrives with this single as if from nowhere, and it already feels like you’ve stepped into something in progress: a private ritual, shoes sticking to the floor, your pulse suddenly too loud for comfort.
Somewhere in the cracked hour between memory and misbehaviour, Satin Stain’s arresting new single drags up the hard truths most people would rather leave buried. Working alone, the artist stacks bass, jangling guitar, and voice into something lean, taut, and faintly dangerous. All Said and Done moves with a slow, deliberate ache, circling its own center without ever splitting wide open or offering easy release. You can hear traces of The Cure, Echo and the Bunnymen, and Chameleons in the architecture of the track, but Satin Stain uses those familiar cues to press into something more intimate and unsettled.
What remains? The sound of something already over: the paperwork filed, the dust settling, the silence after the damage has been done. This track lingers in that aftermath, worrying at betrayal and the strange gravity of longing for what has already slipped away. When the voice reaches backward, it carries the feel of someone pacing the same room over and over, wearing a path into the floorboards. The heartbreaking vocals hover just above the instrumentation, slightly removed, as though even the smallest shift in pressure might bring everything down.
Listen to All Said and Done below, or stream it here.
There’s already a low hum building around this project, the kind that spreads without much announcement, passed along by people who recognize the feeling before they recognize the name. Satin Stain keeps the identity just out of reach, and that distance works in their favour.
Follow Satin Stain:
The post “Take Me Back to the Place We Fell in Love” — Los Angeles’ Satin Stain Shares Plaintive Post-Punk Single “All Said and Done” appeared first on Post-Punk.com.
KILLSWITCH ENGAGE And MACHINE HEAD Announce More Dates!
Tickets on sale Friday!
Stage-Played Guitar VIP Packages:
https://tentontradingco.com/collections/stage-played-guitars-us
AUGUST 2026 – Canada
5th • Ottawa, ON
7th • Rock La Cauze, QC FESTIVAL SHOW
8th • Toronto, ON
9th • London, ON
11th • Thunder Bay, ON
14th • Saskatoon, SK
15th • Enoch, AB
16th • Dawson Creek, BC
SEPTEMBER 2026 – USA
19th • Cleveland, OH
20th • Louder Than Life, KY FESTIVAL SHOW
21st • Moline, IL
23rd • Denver, CO
24th • Salt Lake City, UT
25th • Missoula, MT
27th • Spokane, WA
28th • Portland, OR
29th • Tacoma, WA
Source: Machine Head Bandsintown
There are moments in a band’s trajectory when everything shifts. Souls of Diotima seem to have reached one of them.
The Italian act has officially announced Arcade, their fifth studio album, set for release on October 2, 2026 via Diotima Records. Yet this is more than just a new record — the band openly frames it as the beginning of a new era, a transformation that reaches beyond sound into the very core of their artistic identity.
Described in their own words as something “mysterious, bold and completely different,” Arcade hints at a decisive break from the past, embracing darker and more uncharted creative territory.
The first glimpse into this new chapter will arrive on June 5 with the release of the single “Run Away,” offering a gateway into this evolving sonic landscape.
To shape this transformation, the band traveled to Sweden, recording the album at Studio Bohus under the guidance of producers Oscar Nilsson, Thomas “Plec” Johansson, and Mikko Viitala. Their involvement suggests a sharper, more contemporary and potentially heavier sound — one that aligns with the band’s recent hints toward evolution and reinvention.
Arcade will feature eleven tracks:
1. Warning!
2. Revenge
3. Deadline
4. Black Rose
5. Run Away
6. Time is a Flame
7. A Child
8. Senza Rancore
9. Head Up, Guard Up
10. Cage
11. Nocturnal Vibe
Even the track titles evoke a shift in atmosphere — moving away from traditional symphonic tropes and toward something more nocturnal, introspective, and perhaps urban in tone.
The visual dimension of the album, crafted by artist Rhett Padersoo, further reinforces this transition, suggesting that Arcade is not merely an album, but a fully realized aesthetic statement.
The post Souls of Diotima unveil “Arcade” and usher in a new era first appeared on FemMetal – Goddesses of Metal.
Italian artist Giovanni Santolla’s project, The Spoiled, presents “Not My Cure”, the third and final single ahead of the highly anticipated second album, When It Rains, set for release on April 17, 2026 via Avant! Records.
After two previous singles exploring more atmospheric and cinematic sounds, “Not My Cure” bursts in with renewed intensity. The track showcases The Spoiled’s most aggressive and frenzied side yet, combining fast-paced electronic rhythms, pounding basslines, and reverb-heavy guitars to create a soundscape that is as immersive as it is unsettling.
The song is a nonstop emotional torrent: anxiety, urgency, and unease intertwine in a track that offers no respite, plunging the listener into an almost claustrophobic experience. This sonic evolution highlights The Spoiled’s stylistic shift toward a rawer blend of post-punk, electrogaze, and dark electronic music.
The release is accompanied by an official music video that visually translates this inner tension, reinforcing the introspective and solitary narrative defining this new era.
When It Rains will be available in digital format, CD digipak, and a limited white vinyl edition. Test pressings on black vinyl with alternate artwork have also been released in an extremely limited run.
With this final single, The Spoiled not only previews one of the most solid works of his career but also confirms his evolution toward a more direct, and emotionally incisive sound.
“Not My Cure” is now available on all digital platforms.
The post The Spoiled Releases “Not My Cure”, Final Single From Upcoming Album When It Rains first appeared on FemMetal – Goddesses of Metal.
MANHATTAN, NY — In a bombshell ruling delivered today, April 15, 2026, a federal jury has found Live Nation Entertainment and its subsidiary Ticketmaster liable for operating an illegal monopoly. The decision marks the most significant blow to corporate control in the live music industry since the two giants merged in 2010.
The verdict concludes a high-stakes civil case that saw a coalition of 30 states take up the mantle after the U.S. Department of Justice initially settled earlier this year. The jury agreed with allegations that the corporate entity used “strongarm” tactics to lock out rival promoters, abuse exclusivity agreements, and pressure venues into using Ticketmaster exclusively.
While today’s liability ruling is a fresh defeat, the groundwork was laid this past March when a settlement was reached over initial antitrust claims. That agreement forced the following structural changes:
TL;DR: A Manhattan jury has officially labeled Live Nation/Ticketmaster an “illegal monopoly.” This follows a 2024 DOJ lawsuit and a $280 million settlement that instituted a 15% cap on service fees. With 30 states now backing the victory, the era of exclusive venue “strongarming” may finally be over.
A surprising figurehead in the investigation was rap-rock veteran Kid Rock, a longtime associate of U.S. President Donald J. Trump. Rock served as a consultant early in the probe and provided key testimony.
Despite his fierce condemnation of the company’s “illegal conduct” and his disappointment that the DOJ settled rather than letting the case go to a jury, Rock notably made headlines for continuing to utilize Ticketmaster for his 2026 touring plans, illustrating the very lack of market competition the lawsuit aimed to address.
California’s Attorney General Rob Bonta hailed the Manhattan verdict as a win for American residents who have been “ripped off” by corporate power.
“In the face of dwindling antitrust enforcement by the Trump Administration, this verdict shows just how far states can go to protect our residents,” Bonta stated. He emphasized that the coalition of “red and blue states” proved that consumer protection remains a unified priority.
While the liability is now a matter of federal record, the specific implications and potential “break-up” discussions for the company remain pending in the Manhattan courts.
The post ‘WE ARE BEING RIPPED OFF’: Federal Jury Smashing Ticketmaster Monopoly as 15% Fee Cap Becomes Law appeared first on Loaded Radio.