Andrei British Alien Jazz Girl Review

This single bursts with energy, pulling listeners in like the stealthy steps of a panther. One feels like entering a venue filled with the jazz essence of Jessica Rabbit, who embodies charm and sophistication. The song blends jazz elements with modern production techniques. It inspires a desire to dance and fully embrace the music. The track offers hints of New Orleans jazz that tie in with its contemporary flair.

The rhythm hooks the listener, supporting a lively atmosphere filled with the desire to move. The song employs strategic pauses and an engaging chord progression that keeps one’s interest. A refined yet intense vocal line elevates the mood, prompting joy and excitement. The interaction between the vocals and brass instrumentation creates an enchanting dynamic. This dialogue between instruments enriches the overall experience and elevates the track.

At around two minutes and ten seconds, there’s a truly remarkable saxophone solo. Its melodies capture attention and take the listener on a journey. This moment is a highlight within the song, showcasing the mastery of the musicians involved. Following the saxophone solo, the composition plays with dynamics, shifting gears to prepare the listener for the grand finale. This moment holds its own, offering moments that fluctuate in intensity.

Alien Jazz Girl – Sound and Atmosphere

The final section of the track is exhilarating. It draws on all the elements that have built up throughout the song. Listeners are invited to lose themselves in the rhythm, further fueling the urge to dance. The overall structure of the song is designed to entertain. Each element contributes to a cohesive experience that excites and engages.

This track stands out for the way it sets a vibrant mood and evokes a sense of celebration.

Something is refreshing about its blend of classic and modern influences. This combination allows for a unique take that resonates with diverse audiences. The powerful intent behind each musical choice is evident from start to finish. It is a perfect representation of free-spirited joy that music can evoke.

Alien Jazz Girl – Performance and Production

Listeners might find themselves recalling this single long after it has ended. The energy it emits is infectious, making it ideal for various social settings. The track encourages a break from reality, inviting listeners to delve into a world where rhythm and melody intertwine effortlessly. As the song progresses, it feels spontaneous and thoughtfully arranged, allowing for organic development.

---

Explore more:
New hot indie music
Explore gothic stories

---

Refined

If you love this music: Discover More

---

---

Find Andrei British here:
Spotify | Instagram

---

The post Andrei British Alien Jazz Girl Review appeared first on Edgar Allan Poets – Noir Rock Band.

JUNIPER Halfway Home [Release date 14.05.26] Juniper are a six piece folk band hailing from Birmingham consisting of Dominic O’Sullivan (whistles, clarinet, flute), Emily Hicks (flute), Anna Vaughan (violin), Harry Thorpe (vocals, guitars), Adam Hammond (drums) and Rob Roberts (bass). The … Continue reading →

The post Quick plays: JUNIPER, ADY JOHNSON, ADAM BEATTIE appeared first on Get Ready to ROCK!.

Source

Happy birthday, Virgin. Today marks one year since the release of Lorde’s fourth studio album, and she’s celebrating by sharing a bunch of demos, behind-the-scenes photos, and a personal essay via her newsletter.

The post Lorde Marks <em>Virgin</em> Anniversary With <em>XRAYS</em> Demos And Behind-The-Scenes Photos appeared first on Stereogum.

Source

New album “Desolate Echoes of Turmoil” to be released via These Hands Melt

Kråkstad, Norway & Rome, Italy; 22 June 2026: Norwegian symphonic black metal group Profane Burial has unveiled a new single, “Triumph Of Dreadful Aftermath,” as an introduction to the upcoming full-length, Desolate Echoes of Turmoil, to be released later this year via These Hands Melt. 

Listen to “Triumph Of Dreadful Aftermath”: https://www.nocleansinging.com/2026/06/22/an-ncs-video-premiere-profane-burial-triumph-of-dreadful-aftermath/

According to the band, “Triumph Of Dreadful Aftermath” tells the tale of how chronic insomnia and spontaneous panic tear apart the fabric of normality, dragging the human psyche into a nightmare dimension of disintegration and fear. With its ferocious style of expression, “Triumph Of Dreadful Aftermath” sets a whole new tone of aggressiveness for Profane Burial, with music that is dark and orchestral in its intensity.

Their upcoming album “Desolate Echoes of Turmoil” is considered the most elaborate and dynamic album produced by the band yet. While the new material deliberately maintains the core foundation of their established style, relying heavily on grandiose arrangements, bleak atmospheric textures, and sharp black metal execution, it also moves significantly further into progressive territory. Complex arrangements, changing structure, and unexpected timing make the band move into the modern, very emotional sphere without losing its characteristic dark and cinematic sound. 

Track-list:

1. Den Fortaptes Krønike
2. Prognostic Augural Obsolescence
3. Triumph of Dreadful Aftermath
4. Channeling Epiphany
5. Horror Code pt. 2
6. Malicious Discomfort

To bring this specific vision to life, the band worked with notable names in the studio. The entire album was mixed and mastered by Børge Finstad at Toproom Studio, whereas the drum tracks were recorded independently at Strand Studio. Visually, the release is tied together by a striking, Rorschach-inspired cover artwork painted by Ella Kunst, a piece designed to mirror the existential and psychological tension found throughout the music.

Profane Burial originally formed in 2013, starting out as an ambitious studio project between Kjetil Ytterhus, known for his work with Haimad, Khôra, and Babels Tårn, and André Aaslie, who has performed with Funeral, Images At Twilight, Omnia Moritur, and Vitam Aeternam.

The project quickly grew into a proper live group, bringing in a highly capable lineup of musicians associated with prominent acts like Borknagar, Trollfest and Cadaver. After building early momentum with their 2018 debut album, The Rosewater Park Legend, the band switched into a trio format after 2020. This transition put Aaslie on guitar duties and positioned Ytterhus as the main vocalist, a creative shift that resulted in their 2024 album, My Plateau.

The album will be available across several formats via These Hands Melt. The release options include a standard digital album, a CD Digipack strictly limited to 200 copies, and a classic vinyl LP pressed in two separate color variants. 

Pre-order: https://profaneburial.bandcamp.com/album/desolate-echoes-of-turmoil

Lineup:
Kjetil Ytterhus – Vocals & Keys
André Aaslie – Guitars, Bass & Keys
Bjørn Dugstad Rønnow – Drums

Profane Burial online:

Facebook: https://www.facebook.com/ProfaneBurial/ 

Instagram: https://www.instagram.com/profane_burial/

Bandcamp: https://profaneburial.bandcamp.com/music

Spotify: https://open.spotify.com/artist/7KX7UxaY6BWCBFIfl0kqY3

These Hands Melt online:

Website/shop: https://thesehandsmelt.shop/

Facebook: https://www.facebook.com/these.hands.melt

Instagram: https://www.instagram.com/these.hands.melt

Bandcamp: https://thesehandsmelt.bandcamp.com/music

Source: 3nation

In 1998, Wilco and Billy Bragg joined forces for Mermaid Avenue, an album of previously unheard lyrics written by the late folk icon Woody Guthrie organized by his daughter Nora. It was followed by a second volume a couple years later, and a third in 2012 as part of the Complete Sessions box set. The project featured additional musicians, such as Natalie Merchant, and last night at Wilco’s Solid Sound festival they performed the LP live for the first time. Wilco and Bragg have done some of the songs together before, but never the full album, as they didn’t tour behind Vol. 1 nor Vol. 2. At the MASS MoCA in North Adams, MA, they played songs from throughout the three volumes out of order. Watch clips below.

The post Wilco, Billy Bragg, & Natalie Merchant Performed <em>Mermaid Avenue</em> Live For The First Time At Solid Sound appeared first on Stereogum.

Spawned in 2007, Danish quintet Crocell started life as a humble, but prolifically productive melodic death metal troupe, churning out five LPs in a relatively brief decade. Six years passed between their fifth and sixth outings, but only two years span the difference between that and the new Swarm of Insects, distributed by Emanzipation Records. Throughout all of that history, Crocell have gotten progressively more blackened in their riff-centered, deathly dealings, but otherwise remained remarkably stable both in sound and lineup. This begs a question of curiosity: What six-legged horrors await me here?

While it’s still true that Crocell haven’t made great shifts in sound or style over the last few records, Swarm of Insects is a more epic and sprawling affair than, say, the relentlessly aggressive Relics. This puts it more in line with black-metal forward predecessor Of Frost, Of Flame, Of Flesh, which saw Crocell leaning more heavily into sweeping songwriting arcs highly reminiscent of Limbo-era Gaerea by way of Sulphur Aeon, with a twist of Emperor. That said, some of the Dormant Ordeal-but-slower death of Relics returns on Swarm. This reprisal of crushing heft, in turn, affords Swarm a more threatening nature without becoming wholly oppressive or undoing its grand storytelling voice.

If that description gives you pause or causes concern that Crocell lost their edge, one spin of the title track should provide ample reassurance. Its scorching tremolo-forward riffs and spectacular energy bring heat to the blood and buzz to the saw. “Traitor’s Blood,” “Shredded Banners,” and “Wolfen Man” double down on that attack, and the extra 90 seconds Crocell invested into what used to be their standard mid-three-mid-four-minute template suits them well. Using that extra time to fortify serrated riffs built to shred and terrify with ominous bridges soaked in shadow and mist brought a new vocabulary to Crocell’s musical lexicon. Not entirely unexpected from a band of this advanced experience, but also not entirely dissimilar to the welcome progression of songwriting sophistication that Sulphur Aeon displayed across their discography, Crocell’s expansion of scope allows the five-plus minutes of “Labyrinthian Tunnels” and even the somewhat weaker “Volcano” to feel justified and satisfying.

As much as Crocell excel in Swarm of Insects’ more patient songwriting, so too do they leave behind some of the more exciting characteristics of past efforts. Always the show-stealer, undercelebrated drummer Andreas Posselt is more restrained here across the board, and I miss the jaw-dropping acrobatics and scalpel-sharp accuracy of his tom-and-cymbal play displayed on past efforts. His performance is still enviable, of course. However, opener “Sarcophagus” is somewhat forgettable in relation to Swarm’s later offerings, in part due to its more reserved writing and lack of that percussive showmanship that I look for from Crocell. Concurrently, Tommy Christensen and Mads Gath traded some of their riff quota for great, towering arcs of trem-picked melodies and protracted chord work. This allows big moments from “Sculptor of Nations” and “Wolfen Man” to hit with tectonic impact—and also serves as a vehicle to bring audibility to Onkel Kusse’s oft-buried bass burble—but may alienate listeners who hoped for another nonstop barnstormer from these Danes. Asbjörn Steffensen, on the other hand, strikes a great balance between deathly roars, hoarse rasps, and pained chants that feel impassioned without losing control entirely. His technique here might be cribbed directly from the tomes of Sulphur Aeon, resulting in a most minor case of identity theft, but it’s a great technique for this sound regardless.

41 minutes pass, the locusts that once blinded my vision now only dot the horizon and straggle before my feet. Wings gently flutter on either side of my ears, and I’m left standing aghast at what just transpired. Crocell, as I anticipated, brought enough heat to spike my adrenaline with concerning ease. This Swarm of Insects may not pose as mortal a danger as previous attacks, but it nonetheless offered its own kind of excitement. In another world, I might be thankful that this wave was easier to weather. But I can’t deny that I miss the intensity and the terror of experiences past. I won’t begrudge Crocell for this more “pleasant” plague, as it was a fine plague all the same. I just hope, one day soon, to fear for my life again.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Emanzipation Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 29th, 2026

The post Crocell – Swarm of Insects Review appeared first on Angry Metal Guy.