Daniel Sparrow has been writing songs since his teens, refining his craft through years of bands and live stages to capture life’s highs, lows, and everything in between. Now charting a solo path, he blends classic influences with fresh inspiration to forge a sound that feels both nostalgic and modern.
His single, “Virus,” delivers an intense, fast-paced punch packed with infectious guitar grooves and standout vocal performances. Lyrically, the track delivers a dark yet empowering message centered on resistance and truth.
Stream “Virus” on the Spotify player below, and follow Daniel Sparrow to stay updated on future releases.
Flirtations advert, Record Retailer, 29 May 1969, page 21
Originally formed as The Gypsies with three sisters – Betty, Ernestine and Shirley Pearce plus their friend Viola Billups, New York-based The Flirtations were originally brought to England by promoter Roy Tempest in December 1967 for a nationwide tour backed by Dagenham, east London outfit, The Trend.
Betty Pearce had departed before this tour commenced and the trio performed as The Fabulous Marvelettes. Despite the confusion and anger this caused, particularly from club owners who mistakenly believed they were getting the Motown superstars The Marvelettes, the tour was successful enough for the vocal trio to return to Britain in spring 1968 for a second tour, billed again as The Fabulous Marvelettes.
For this second tour, they were once again backed by The Trend, who comprised Norman Cummins (lead guitar/vocals), Pete Cole (bass/vocals), Bob Mather (sax), Cliff Reuter (keyboards) and Frankie Morgan (drums).
This isn’t a complete gig list for this tour
Tour dates:
8 March 1968 – Clockwork Orange, Chester, Cheshire with The Upside Down World (Chester Chronicle)
11 March 1968 – Rawmarsh Baths, Rotherham, South Yorkshire with The Original Drifters backed by The London All-Stars (South Yorkshire and Rotherham Advertiser)
20 March 1968 – Sheffield City Hall, Sheffield, South Yorkshire with The Original Drifters backed by The London All-Stars (Sheffield Star)
After this tour, the trio relocated to Britain and reverted to their original name, The Flirtations, recording prolifically in the late 1960s and early 1970s.
As The Trend was working with other soul artists from mid-1968 onwards, it’s not clear who the backing band was on the gigs below and we’d welcome any further information.
20 April 1968 – Britannia Rowing Club, Nottingham with The Staxmen and King Kat Knyte (Nottingham Evening Post)
11 May 1968 – Britannia Rowing Club, Nottingham with Clyde McPhatter, The Staxmen and Ways and Means (Nottingham Evening Post)
21 June 1968 – Hemel Hempstead Pavilion, Hemel Hempstead, Herts with Chicago Setback and Granny’s Intentions (Hemel Hempstead Evening Post)
12 July 1968 – Marvifab Mayfair, Newcastle upon Tyne, Tyne & Wear with Urge, Coloured Rain and Traine & Mystics (Sunday Sun)
The Widnes Weekly News, 19 July 1968, page 22, has a picture and a spread on the trio
Photo: Melody Maker, July 1968
27 July 1968 – El Grotto, Ilford, east London (Redbridge & Ilford Recorder)
15 August 1968 – Royal Pier Pavilion, Southampton, Hants (Southern Daily Echo)
22 August 1968 – Locarno Ballroom, Bristol (Bristol Evening Post)
23 August 1968 – Locarno, Derby (Derby Evening Telegraph)
24 August 1968 – Imperial, Nelson, Lancashire with Doctor Marigold’s Prescription, The Smythe Brothers, The Index Trend and Pancake Tuesday (Lancashire Telegraph)
29 August 1968 – Assembly Hall, Worthing, West Sussex (Worthing Herald)
The Derby Evening Telegraph, 31 August 1968, page 4, has a pic and spread on them
31 August 1968 – Civic Hall, Dunstable, Bedfordshire with Clyde McPhatter (Luton Evening Post)
1 September 1968 – Giant Bank Holiday Rave All Nighter, Mojo Festival, Queen’s Hall, Leeds, West Yorkshire with Ben E King and Clyde McPhatter, The Fantastics, Tim Rose and The Time Box (Huddersfield Daily Examiner)
12 September 1968 – Cedar Club, Birmingham with Soul Show & The Phoenix City Truth (Birmingham Evening Mail)
12 September 1968 – Locarno Ballroom, Bristol (Bristol Evening Post)
13 October 1968 – The Place, Hanley, Staffordshire (Evening Sentinel)
14 October 1968 – Club Cedar, Birmingham with The Soul Show (backing group), The Third Stone from the Sun (Birmingham Evening Mail)
18 October 1968 – Odeon Taunton, Taunton, Somerset with Dave Dee, Dozy, Beaky, Mick and Tich, About Face, Dr Marigold’s Prescription, Justins Timepiece, The Santianos and The Vertical Movement (Western Daily Press)
2 November 1968 – Wakefield Theatre Club, Wakefield, West Yorkshire with Johnnie Ray, Audrey Jeans and Jackie Farn (Huddersfield Daily Examiner)
11 November 1968 – Cragburn Ballroom, Cragburn, Scotland with Marmalade and The Verge (Greenock Telegraph and Clyde Shipping Gazette)
27-28 December 1968 – Annabel, Sunderland (Newcastle Evening Chronicle)
29 December 1968 – The Place, Hanley, Staffordshire (Evening Sentinel)
11 January 1969 – Music Hall, Shrewsbury, Shropshire with Jasson Hertz and Shady Lane (North Shropshire Journal)
1 February 1969 – Market Hall, Haverfordwest, west Wales with Nightime Pipeline and Night Before (Pembroke & West Wales Guardian)
8 February 1969 – Civic Hall, Nantwich, Cheshire with The Jaytree Organisation (Evening Sentinel)
29 March 1969 – Royal Links Pavilion, Cromer, Norfolk with Blue Ulysses and Sleepy Talk (Eastern Evening News)
5 April 1969 – Town House, Wellington, Shropshire with Seeburg Discotheque (North Shropshire Journal)
12 April 1969 – New Century Hall, Manchester with The Government, Pete Doyle, Rag Dolls and Peter Lee (Manchester Evening News & Chronicle)
The Runcorn Weekly News, 17 April 1969, page 12, has a story on the band
10 May 1969 – Music Hall, Shrewsbury, Shropshire with The Swing Ensemble (North Shropshire Journal)
The Grimsby Evening Telegraph 24 May 1969, page 6, has a pic and story on the trio
We’d like to hear from anyone who can provide more information in the comments section below
Get ready for one of the most anticipated open-air rock events of the summer! Rockowizna Festival returns to Kraków on August 28–29, 2026, bringing a massive wave of distortion, high-energy performances, and an unforgettable atmosphere to the historic grounds of the Polish Aviation Museum (Lotnisko Rakowice-Czyżyny).
Bringing together legendary Polish rock staples alongside high-octane international acts, this year’s edition promises two intense days of live music across generations of rock and metal fans.
Two Days of Pure Energy: The Kraków Lineup
The organizers have put together a stacked roster of heavyweights, underground favorites, and stadium-filling acts split over the two-day event.
Day I – Friday, August 28
Day one kicks off with a raw blend of gothic glamour, thrash metal, punk, and modern alternative rock:
Lord of the Lost (Germany’s dark-rock icons bringing their dramatic, industrial-tinged sound)
Acid Drinkers (Polish thrash metal legends returning to tear up the stage)
Nocny Kochanek (Poland’s beloved heavy metal parodists known for their hilarious lyrics and stellar musicianship)
Pull The Wire (Energetic punk rock anthems)
The Analogs (Street-punk veterans bringing raw street credibility)
Day II – Saturday, August 29
The second day steps up the melody, nostalgia, and sheer rock adrenaline:
Lacuna Coil (The Italian symphonic/gothic metal titans delivering massive riffs and soaring dual vocals)
Coma (One of Poland’s most iconic alternative rock bands)
Royal Republic (Sweden’s explosive rock ‘n’ roll disco hitmakers guaranteed to get the crowd moving)
Dżem (Immortal Polish blues-rock legends)
Zenek Grabowski (Unfiltered solo madness and high-energy fun)
Romantycy Lekkich Obyczajów (An eclectic blend of alternative, pop-punk, and folk-rock)
Festival Essentials & Tickets
When: August 28–29, 2026
Where: Muzeum Lotnictwa Polskiego / Lotnisko Rakowice-Czyżyny, Kraków, Poland
Tickets: Both 2-day passes and single-day tickets are available now via official ticketing platforms including eBilet.pl and Eventim.pl – tickets can also be purchased right here.
Whether you’re in it for the international headliners or the best of the Polish rock scene, Rockowizna Kraków is set to be a highlight of the August festival season. Grab your tickets early before tiers sell out!
REZN – Cycles In The Infinite Dream (Sargent House) [Matt Bladen]
Doom? Prog? Psych? Saxophone? Flute? Lap Steel? Ok you got me, I guess I’ll dive into and probably love another album from Chicago, Illinois, virtuosos REZN.
It’s been a decade since they formed and defined their own niche in the music world, coming from the heavy foundations of psychedelic stoner doom over the years and across five previous albums they’ve added extras that have shifted them into the prog-sphere, using instruments I’ve mentioned that may be more at home in jazz or country genres.
It’s this experimentalism that has gained them a very dedicated following and positive reviews across the board, fusing cavernous doom riffs and a tsunami of synths, on new record Cycles In The Infinite Dream they’ve expanded their minds to go further into psychedelia while amplifying the other elements of their music as well.
The album explores “the nexus of our waking and nocturnal worlds” as if lost in the subconscious, they weave a sonic tapestry that combines multiple skilled performances into nine complex songs, that never stay too long as prog often does, but squeezes a lot into run times that are between 4 at their shortest and 8 at the longest.
With Rob McWilliams up front on guitars/vocals, he’s joined by Phil Cangelosi on bass and rainstick, Patrick Dunn on drums and Spencer Ouellette, who has a lot of work to do with synths/lapsteel/sax/flute/keys, this is the four piece who create all of incredible music here as Natalie Drakes and Ómkara Gil add violin and cello to two tracks, to add yet more musical dexterity and dynamism.
Dreamy textures on Aerial Birth, through to the Mastodon meets King Crimson of Transient, and the cascading melodic doom of The Vessel which reminds me of Pallbearer while Primal Thread takes me into the realms of Elder whom REZN will be supporting on tour next year. That promises to be a brilliant set of shows as Cycles In The Infinite Dream is another incredible record from these Chicago innovators. 9/10
Dead Meadow – Foundlings (Heavy Psych Sounds) [Rich Piva]
Dead Meadow rules, so any new Dead Meadow material is very welcomed, even if it is an odds and sods type deal, like the band’s latest release, Foundlings. Foundlings is one of those “deep dive into the archives” type releases that, not surprisingly, has some pretty great songs on it, both covers and original material from sessions over the past two decades.
What makes this one even more special is that it is dedicated to late band founder and bassist Steve Kille, who recently passed away from cancer and who plays on all of the tracks on Foundlings.
So what are these seven songs all about? Fuzzy, spaced out psych goodness that you expect from one of the best bands ever to do it, like on the opener, Lost To Light, which quality-wise is as good or better than anything that wound up on the great Voyager To Voyager, the sessions from which it was recorded. A killer version of the track Nobody Home, from the 2018 record The Nothing They Need, recording for an EarthQuaker session, is up next and it is more of the same greatness from the band, with the rhythm section locked in and that guitar tone, highlighting how great the band is live, even if it is live in the studio.
Also recorded live in the studio, Kingdom Of Heaven is a cover of a Powell St. John, who I have not heard of before, but whose song is a spacy, atmospheric Twin Peaks vibes journey that has a killer solo. We even go back to 2001’s classic Howls From The Hills, and a session version of the killer trippy-as-hell Everything’s Goin’ On. Sure, throw in a cover of one of the greatest songs of all time, The Beatles’ Tomorrow Never Knows, done in Dead Meadow fashion, and have me listen to it 20 times in a row.
This one is worth the price of admission alone. While we are at it, let’s get a cover of the Led Zep classic No Quarter. Also great. From The Children Of Planet Earth closes Foundlings out, and is a weird, synth driven mindbender that closes this set up perfectly.
Any Dead Meadow is great Dead Meadow, and the seven “from the archives” tracks on Foundlings are certainly worth your time, especially if you are a fan who can’t get enough of unheard material from one of the best bands out there. RIP Steve Kille. 9/10 Emptiness – Nowhere Speaks (Season Of Mist) [Mark Young]
Emptiness’s Nowhere Speaks is a timely reminder that its simply impossible for me to like every piece of music that I hear. There are some things that were they to fall into someone else’s lap then the conversation would be different and to be fair I have been on a good run so I guess it’s the law of averages.
In any event, it’s the kind of thing that attempts to do something different and ends up being falling short, at least of the promises made in the extensive bio that accompanies the release. Its good enough to explain to those who may not know that its opening track directly where a track from 2014 abruptly finished, bearing in mind that there have been releases in between then and now. I’m not sure if that statement set the tone for me, are those in the community really scratching their collective heads as to what happened back then? I don’t know, I’m sure someone will tell me.
What follows next is a collection that merges differing approaches – true extreme metal, noise, electronica that looks to shine a light on them for how unique they are as a band. One thing their bio gets right is that they have no interest in making things easy for the listener. That’s completely fine, be abrasive and uncompromising but come armed with songs that provoke a reaction, be it joy or pain. Their songs fall largely into the middle groove, offering neither to me.
I expect extreme metal to excite me, to be visceral and here they fail until they get late into things and drop The Clash Of Forces, which at least has a direct, forward kicking movement to it. It is saying a lot that we have got to track 8 before something has landed and has made a mark. Is this what they had in mind, is this what they wanted from this release?
No idea but the cacophony falls away, replaced by Next In Line. It’s a 4 minute track where 2 or more minutes are wasted and any kind of late album momentum is lost. Its more than likely that fans of the band will get onto this immediately, understanding and maybe expecting that the content here will deploy the way it does. For me, it just feels like a gigantic waste of my time.
All For Nothing is the closing piece and lives up to its name. I’ve looped backwards to the start again, just to see if I pressed play at the wrong time, but no. Its definitely you not me. 5/10
Hexorcist are a Death Metal band out of Miami, Florida, in the United States. They’ve been together since 2019, already having a sizable discography then any band would be happy with two demos, a full-length and two splits to their name. Known for their raw sound, your poor ears won’t last long with the sound being turned all the way up.
A unique situation for me today as I’m not only covering their new LP, Crucificial Imprecations, but also a combo release featuring two remasters, one being their first studio effort Evil Reaping Death and the other one is of their first demo, Bestiarum Vocabulum.
Starting off with their first album, Evil Reaping Death, it presents pummelling drums and bass which reach through your stereo and contort your body into shapes that you didn’t think were possible.
In under 40 minutes it achieves chaos and what it set out to do but at what cost? The crop of songs that flow in and out of each other have a real hitting quality to them, a lot of them with dynamic changes which keep you guessing and your head banging. Hexorcist are definitely showing a lot of love here for classic Death Metal, Raw Black Metal and for sure a lot of old-school Doom too.
Now I haven’t heard the original mix but if this is a remaster then you can definitely here it. A lot of the time in this warts and all approach the bass often gets forgotten about but not here, it seems to be turned all the way up. It’s organic though as slides and curves around the other instruments very well.
As I mentioned beforehand, packaged alongside Evil Reaping Death, you also get the band’s first moment with the demo, Bestiarum Vocabulum. This early recording strikes me as more of a full on assault by Hexorcist. What I mean by that is, the instruments come together in one full swoop, comparing it to their other releases, Bestiarum Vocabulum is more like a gun, every little element works together to form a movement, whether the others feels like five archers, shooting their arrows at one target, it’s not the same. 7/10
2026 is a new era for Hexorcist, their last record at this stage was their split with Morbid Messiah which was put out in 2023 and a lot can happen in three years, now Crucificial Imprecations awaits…
The album presents half an hour of power with eight tracks, again keeping things concise which is something that we all like to see. Guess what happens here? Yep full-throttle blasting from every direction, sending you to an early grave.
The drums across the album are the highlight for me, being at times they are so overpowering, they might as well have knocked out the bass and guitar in real-time. Crucificial Imprecations takes on a deep love for Black Metal here, so much so that all of the dynamics and detail are sucked into a black hole.
If you’re looking to be buried by repetition then this record is for you. Compared to the band’s previous material it only really has one thing going for it, it’s an evil scientist that focuses on one thing constantly and rolls around in bed endlessly sleeping on that thought and that is destroying the world that created him.
Thankfully it ends before the point where it gets far too much for me, I can only hear the same thing so many times. I’m left hungry for more and I come out of Crucificial Imprecations with the same feeling that I have a lot of the time with Death Metal, if you want to end existence, it doesn’t have to be done in one way.
It’s easy for a band to make something sound dark but it’s going to take a lot more than that for Hexorcist to scare me. 5/10
Texan death metal five-piece Prophecy premiere a new single and music video by the name of "Wolves", streaming via YouTube for you now below.
Read More/Discuss on Metal Underground.com
Chicago, IL-based hardcore quartet Know Pain premiere a new single titled "Fear Me", streaming via YouTube and Spotify for you now below. Tyler Shelton (Traitors) and Austin Hayes (Heavy//Hitter) guest on this particular track.
Read More/Discuss on Metal Underground.com
“Deliverance” by Luke Stanley presents an intriguing atmosphere. Its generous reverb and crunchy guitar create a psychedelic environment. This sonic backdrop shapes a sense of suspension, almost like a mirage. The song explores the moment of realization when one recognizes lingering thoughts of someone they wish to forget.
This moment of suspension is universally relatable. Many listeners have experienced similar feelings as they navigate their emotions. Stanley’s music embodies this hypnotic quality while remaining distinct within its own realm. The particular sounds interspersed throughout add depth to the listening experience.
An ethereal pad introduces a spacious auditory experience. This element emphasizes the notion that the song might be more of a mirage. The psychedelic nuances blend with a groove that feels almost stifling. This unique combination envelops the listener, ensuring a profound emotional impact.
Deliverance – Sound and Atmosphere
The lyrics poignantly depict memories intertwined with an unresolved past. They reflect the struggle to move on from someone, highlighting the emotional weight of reminiscence. Throughout “Deliverance,” listeners witness a dynamic portrait of nostalgia and resistance.
The combination of rhythmic complexity and emotive melodies enhances the song’s themes. The intricate layers engage the audience, inviting them to reflect on their experiences. The music elicits a sense of empathy, making it relatable on multiple levels. Every note feels like a gentle push towards understanding and acceptance.
Stanley’s vocal delivery is equally impactful. His voice carries a weight of emotions, underscoring the song’s intent. Each phrase feels charged with a reality that many individuals face. By merging lyrics with evocative instrumentation, he crafts a narrative that resonates deeply.
Deliverance – Performance and Production
The instrumentation stands out in its psychedelic leanings. The use of guitars layered with ambient sounds creates a rich texture. This richness is essential in maintaining interest throughout the song. The gradual build-up allows listeners to immerse themselves in the journey.
“Deliverance” delicately balances intensity and calmness. There are moments of heightened emotion followed by soothing interjections. This ebb and flow effectively guides the listener through their introspection.
Luke Stanley’s “Deliverance” stands as a thoughtful examination of emotional complexity. Its peculiar influences combined with relatable themes engage a wide audience. The sonic journey invites listeners to reflect on their own pasts.
This single is likely to resonate with anyone grappling with similar emotions. “Deliverance” effectively captures that bittersweet moment of reflection.
Reinterpreting a legendary song like “Woman” by John Lennon is no small feat. Dan Szyller’s rendition impressively fulfills this challenge. It is refreshing that the original vibes have been preserved. The song maintains a clear connection to the original while integrating typical sounds from the 1980s. The production feels more modern, yet the attention to detail in the music is remarkable.
One of the standout aspects of this version is the subtle variations in the vocal interpretation. Szyller’s voice is distinct, showing a mix of timbres that range between baritone and warmth. This quality adds intensity to the overall feel of the song. The slight changes in interpretation contribute to making this cover a noteworthy version by Dan.
This rendition keeps the romantic and dreamy vibes of the original piece while adding the unique touch of an artist with his own vision. The modern production elements fit well within the framework of the classic song. Szyller successfully navigates the challenge of paying homage to Lennon while establishing a voice that is readable and fresh.
Woman – Sound and Atmosphere
The combination of synths and traditional instruments evokes the essence of the 1980s while remaining accessible to contemporary audiences.
Listeners will find familiarity in the melody, which is comforting and nostalgic. The arrangement reinforces the emotional core of the track. By staying true to the original while incorporating modern elements, Szyller creates a bridge between generations of music lovers.
The production quality is another highlight of this single. Every layer of sound is well-defined, creating an immersive listening experience. Szyller and his production team devoted considerable effort to ensure that the final product meets high standards of excellence.
Woman – Performance and Production
The choice to reinterpret such an iconic song invites listeners to explore both Szyller’s artistic interpretation and the underlying message of the original. This version encourages reflection while remaining enjoyable.
Szyller’s version of “Woman” is a commendable endeavor. It captures the spirit of the original while showcasing a modern sensibility. The attention to detail in production and vocal interpretation is impressive. Dan Szyller proves his capability as an artist through this single, appealing to longtime fans of John Lennon and new listeners alike.
This single is a reflection of artistic evolution. Dan Szyller has not only respected the legacy of a classic but has also made it his own. As we listen to this version, we can appreciate the blend of nostalgia and innovation that defines his music.
This week’s “Dark Wave” featured music by New Order, Lowlife, Front Line Assembly, Peter Murphy, The Sound, Concrete Blonde, Prong, Simple Minds, The The and more.
If you love this music: 