A Place To Kill have shared a handful of snippets of tracks from their forthcoming self-titled debut EP. The industrial metal project are set to drop that seven-song outing on June 05th, with pre-saves now available at hypeddit.com/c2yvvd. This fledgling endeavor is a union of Richard Patrick, vocalist/guitarist, etc. of multi-platinum industrial rockers Filter, and…
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The opening track, “Ash And Dust,” captivates with its arpeggio. From the very beginning, it reaches deep into the soul, establishing an atmosphere that is intense and nostalgic. The song features a lengthy intro, lasting around a minute, before the vocals emerge. The sound evokes a blend reminiscent of Radiohead, Grant Lee Buffalo, and Smashing Pumpkins. As the track gradually progresses, it draws the listener deeper into the artistic world of Satsuma.
Following this opener is “Love My Lies.” This track continues in a minimalist fashion, presenting dark and nostalgic tones that harken back to the ’90s music scene. The vocal delivery is heartfelt, demonstrating the artist’s passion for creating music that resonates on a personal level. The emotion in the vocals carries a weight that is recognizable and relatable, establishing a strong connection with listeners.
Next is “Touch Of Your Breath.” This track stands out as introspective, with a gentle guitar strumming providing a delicate foundation for the vocals. The light pads in the background enhance the auditory experience, opening up the musical space. This song embodies a nighttime intensity, evoking a sense of introspection and calm.
The EP concludes with “Scorched Earth,” a track characterized by its raw sound. Here, the music shifts to a grunge-like quality, marked by powerful guitar riffs. This song has a genuine feel, reminiscent of a time when music was often driven by authentic emotion and instinct. In an era dominated by artificial intelligence, “Scorched Earth” emerges as a breath of fresh air. It reminds listeners of the real emotions that music can evoke.
Overall, Satsuma’s “Anodyne” presents a refreshing experience for fans of ’90s music. Each song is crafted with attention to detail and a deep sense of feeling. The EP showcases a range of emotions, from intense nostalgia to introspective calm. The minimalist approach taken in many tracks allows the focus to remain on the artist’s voice and message.
This EP is particularly notable for its authenticity. In a time when many artists rely on technology, Satsuma’s work shines through with its organic sound. The emotional weight in the music is palpable. It serves as a reminder of why music resonates so deeply with listeners.
The arrangements are thoughtful, with each instrument playing a specific role. The guitar, vocals, and pads work in harmony to create distinct moods. The emotional journey throughout the EP is clear, providing an engaging listening experience.
Fans of alternative rock, especially those with an affinity for the ’90s, will find much to enjoy in this EP. The blend of nostalgia and innovation is skillfully balanced in Satsuma’s work. Each track weaves a story that resonates emotionally and intellectually.
The EP represents a heartfelt return to the roots of music that speaks to the heart. As the final notes of “Scorched Earth” fade away, listeners are left with a sense of satisfaction.
Overall, Satsuma’s “Anodyne” is a rewarding addition to contemporary music. It deserves a place on playlists, especially for those yearning for a touch of nostalgia intertwined with fresh perspectives.
Nostalgic
If you love this music: Discover MoreFor fans of:
Radiohead • Grant Lee Buffalo • Smashing Pumpkins
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Last month we got the fantastic news that Widowspeak are returning with their first new album in four years. The indie folk-rock duo introduced Roses with the eminently enjoyable “If You Change,” and they’ve followed it up another good one called “No Driver.” The guitars are going nuts on these new tracks. “No Driver” essentially…
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With three previously released bonus tracks.
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Lacuna Coil – House of Blues San Diego – April 11, 2026
Lacuna Coil played a rousing show in the 1500-capacity House of Blues San Diego on Saturday night. The House of Blues is located in the Gaslamp Quarter in downtown San Diego, and has a main standing room only floor, surrounded from above by a balcony on three sides. The venue features excellent sight lines and superb sound in a space large enough to draw top-name talent but intimate enough to feel like you’re close to the artist even when you’re in the back.
When I first arrived in the photo pit at the House of Blues San Diego, 30 minutes before the opening band Vowws went on stage, I struck up a conversation with two guys up against the rail wearing Lacuna Coil shirts. I asked them what time they’d arrived to ensure they’d get a good spot on the barricade. They said that they’d been waiting on the sidewalk since 2:00 pm for the doors to open at 6:30 pm, and they weren’t the first ones to arrive. This is typical of Lacuna Coil fans – they are extremely loyal, and willing to do anything to see their band up close.
Italian gothic metal band Lacuna Coil was formed in 1994, and was the first female fronted band to play Ozzfest in 2004. The twin vocal attack brought by Cristina Scabbia’s soaring and at times operatic melodies mixed with Andrea Ferro’s aggressive delivery is an interplay that perhaps shouldn’t work on paper, but blends seamlessly on stage. Their breakthrough came in 2002 with the Camalies album, featuring the song “Heaven’s a Lie”, which helped launch them into the mainstream.
The majority of Saturday’s concert featured songs from 2025’s album Sleepless Empire, including “Oxygen”, “Gravity”, and “Hosting the Shadow”, among five others. Cristina and Andrea spent much of the night at the front of the stage, closest to the fans – making eye contact and singing directly to them. There is an obvious bond between Lacuna Coil and their supporters – and the band made a tangible effort to reinforce that connection on Saturday.
Lacuna Coil is:
Setlist:
Encore:
Escape the Fate is a solid band with great songs, attitude, and on-stage presence. They are talented musicians, and worked really hard on Saturday to convert anyone in the audience that wasn’t already on board. Since moving on after Ronnie Radke’s dismissal in 2008, they have continued to make great music and supported it with a blistering touring schedule year after year.
Vocalist Craig Mabbitt paced from side to side at the front of the stage during much of the show, giving fans everywhere on the floor a visual, while Matti Hoffman on guitar struck rock-star poses and ripped it. Robert Ortiz looked super-cool behind the kit with mirrored sunglasses and beat the drums to a pulp, while Erik Jensen stepped away from his previous bass duties to play guitar and sing. The new song “Déjà Vu” was met with excitement, and their set was filled with songs from their entire catalogue. This is a fun band to see, and they work hard to ensure a great show.
Escape the Fate is:
I didn’t know Vowws before the show, and was immediately struck by the lack of light on stage. As a photographer, I depend on light – concert lighting can be tricky at times, but on this night, there was simply none. After a while, white light flickered on via strobe-style lighting behind the two artists, creating a nanosecond of backlight, but still no light on their faces. Eventually, there were short pulses of light during the three songs photographers were allowed in the pit, but pressing the shutter at the exact moment as the flash, all while hoping the camera would have time to focus, proved elusive. Only the last song of their set provided any actual illumination that resembled typical concert lighting, but by then, I was at the back of the room.
Artsy lighting aside, the Australian death-pop duo was really well received by the San Diego audience. They had a very different performance style than the other two bands – both Rizz on keyboards and Matt on guitar stayed in their respective spots, and didn’t stray far into the darkness. The music was multi-layered and more ethereal than straight-up in-your-face metal, but people were digging it, and they proved to be a good fit for the night’s event.
Vowws is: @vowwsband
Brooks Robinson is an LA-based concert photographer, and 30+ year freelance camera operator for film, television, and music videos. He has photographed some of the largest film/TV projects in history, and hundreds of music videos in MTV's heyday.
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