Category: news

Charlie Marie and Ward Hayden & the Outliers, anchored by Ward Hayden and Greg Hall, are two acts carving their own paths through country music — and both dropped new music this month. Charlie’s new album landed June 5th. Ward and Greg’s duo EP dropped last week. We’re thrilled to celebrate both releases with them […]

It’s a good day. It’s a great day. After announcing a big tour and a new record deal with 4AD, Julia Jacklin has returned with new music and the promise of a forthcoming album. She’s shared the new single “Get Away From Me (I Think I’ll Love You Soon)” to announce her new album The Gem, out Sept. 25.

The post Julia Jacklin Announces New Album <em>The Gem</em>: Hear “Get Away From Me (I Think I’ll Love You Soon)” appeared first on Stereogum.

Let’s be real and honest now, when it comes to psychedelic rock music, originality and unpredictability are qualities

With Fear Factory, the undisputed kings of industrial metal are returning to concert stages around the world! Over the course of their long and storied 36-year history, the band has experienced many ups and downs, soaring to new heights and weathering personal conflicts—yet somehow, all of this has only made them stronger. This was proven… Continue Reading →

When the late Dave Greenslade left Colosseum, he had a handful of unfinished songs which launched a short but inspiring run at the dawn of the synth era

Trewavas and bandmates Rick Armstrong and Eric Blackwood will release A Light In Ethereal Night in September

Yesterday, it was confirmed that “Alien Boy” singer Oliver Tree and five others passed away in a tragic helicopter collision. Within an hour, a clip from an interview that Tree did with Zach Sang this past April started circulating online, where he discussed his will and an arts foundation that he set up and hoped would continue well past his death. It’s eerie.

The post Oliver Tree Detailed The Surprising Terms Of His Will In An Interview A Few Months Ago appeared first on Stereogum.

Bands:	Khemmis
Release:	Khemmis
Genre:	Doom Metal
Country:	USA
Release Date:	12th of June, 2026
Released via	Nuclear Blast Records

Khemmis might be the best-known unknown band of recent years. While continuously receiving the highest praise from critics for releasing epic doom records such as Hunted in 2016 and the well-received Deceiver in 2021, and also gaining some attention by having one of their songs featured in The Dark Pictures video game series, they have not yet managed to break through to a wider audience. I am delighted to help shine at least a little light on these massively talented four musicians from Denver, Colorado. Hopefully, that will change with their new self-titled fifth record, because they deserve it.

When a band releases a self-titled record, it can be an indication of one of two things: either a culmination of their already established sound as a definitive statement, or a half-assed back-to-the-roots record. Luckily, in this case, the former applies. After five years, lineup changes (David Small of Glacial Tomb now handles bass duties), and relocations, the band took their time to truly channel their influences into one cohesive unit. This means that all the ingredients long-time fans are familiar with are still present, but delivered in a different manner.

While the band was previously notorious for including only a handful of lengthy tracks on their records—songs that slowly built momentum through the interplay of traditional Candlemass- and Saint Vitus-inspired doom segments and NWOBHM guitar arrangements akin to Mercyful Fate and Iron Maiden—they now blend those elements in a more song-oriented way. This results in more stripped-down compositions, which is also reflected by the increased number of tracks while maintaining the usual LP runtime of roughly 40 minutes.

Opener “Invocation of the Dreamer” immediately demonstrates this newly found focus with blistering black-metal-inspired screams, pounding and steady rhythms, and the sublime lead vocals of Phil Pendergast, making it one of the band’s best and most straightforward songs to date. This is as catchy as it gets for melancholic and epic doom metal. “Corpsebloom Garden” leans more heavily into the members’ extreme metal influences (they are also active in scorching acts such as Black Curse and the previously mentioned Glacial Tomb), as death growls serve as a great counterpoint to the epic hook and excellent traditional soloing toward the end of the song.

“Grief’s Reverie” increases the dynamic range with driving, heavy doom chords, death growls, and a slowed-down, medieval-feeling chorus before closing out with fantastic harmonies. In general, this newly found focus on implementing catchy hooks works very well and makes the songs easier to digest for new listeners. Thankfully, the arrangements remain just as dynamic and exciting as on previous records, which further underlines the songwriting quality of these musicians. No heavier section feels out of place, tempo changes and transitions occur naturally, and technicality never results in unnecessary showboating.

Nice little surprises such as the D-beat-driven “Gilded Chambers” and the blast-beat-fueled “Carrion King” show that the band still knows how to change things up, keeping the listener engaged throughout the record’s entire runtime. These two tracks also rank among the heaviest Khemmis songs to date. Another highlight comes in the form of the epic closer “Benediction Tones“, which offers yet another memorable and catchy-as-hell hook that will be burned into the minds of everyone who hears it.

Production-wise, Khemmis‘ self-titled record sounds massive and well differentiated, though perhaps a little too glossy for some fans of their earlier work. However, given the sheer songwriting quality and technical prowess demonstrated here, this minor criticism can easily be overlooked.

Khemmis succeeds in stripping down—but not dumbing down—their sound to its absolute essence, delivering their most cohesive and focused record to date. While sacrificing a little of their former epic grandeur, the band more than makes up for it with distinctive and memorable songwriting, technical proficiency, and gorgeous melodies, all while maintaining their heavy, doomy edge. If you’re looking for epic doom metal with gorgeous melodies, this is your go-to record of 2026.

Is it just me who wonders when Joe Bonamassa finds the time to sleep? Even my sniffer dog has started to lose track of the amount of music JoBo’s put out in recent times, but when you’re head honcho of an entire genre, I guess you need to shed a prolific existence.

If my maths is correct (which I wouldn’t count on), I believe this to be Joey B’s sixth album in the past four years (as long as you don’t chalk off live recordings and Black Country Communion’s V).

Given we’re almost halfway through 2026, Bonamassa fans could be pardoned for getting a bit prickly about the absence of an album to date, but the guitar virtuoso and workaholic has come through with this corking set honoring one of his musical heroes and primary guitar influences — Rory Gallagher.

But this isn’t any ordinary project. Rory’s shadow (play) looms large on this 14-song LP compiled from three sold-out nights out in Cork (Gallagher’s hometown). The setting adds emotional weight to The Spirit Of Rory, reuniting his legacy, music, place, and people. Rather than try and reinvent Rory’s songs, JoBo has sidestepped the unwanted insignia of sinner boy by ‘approaching the catalog with humility and reverence.’

The Irishman always came into his own on the stage, establishing a fierce reputation as a tireless performer with a gritty and raw edge. Capturing the adrenaline and excitement of his live performances (I strongly recommend giving Irish Tour ’74 a listen) was never going to be easy, but it’s clear Bonamassa and his band (alongside the rowdy, raucous crowd) did Cork’s favorite son proud.

What starts off like a violin concerto, soon bursts into an explosive rendition of “Tattoo’d Lady.” While I agree with diehard ‘Rory-ites’ that their man was a stronger/more powerful singer, Joe can certainly walk away with his head held high. 

On “Bullfrog Blues,” there’s fire to his Strat playing that this blistering rock ‘n’ roll juice demands, with the dial-down solo outstanding and the crescendo spine-tingling. If you want a masterclass in how to pay homage to your heroes, the magnificent arranged (both vocally and instrumentally) “A Million Miles Away” sees Bonamassa’s beloved backing singer Jade MacRae bring her trademark passion to the poetic existentialist masterpiece. While it’s virtually impossible to copy Rory note for note, given his inventive disposition to never play the same track the same way, Bonamassa’s solo is very much true to his own inimitable style. And what’s not to love about the funky bassline?

Anyone who has followed Bonamassa’s career will know there’s not much he can’t turn his famed guitar hands to. See how he lets his slide notes sing on the epic “Who’s That Coming?” or the ferocity and flow he and his on-fire outfit spill all over “Back On My Stompin’ Ground.” The captivating rhythm and Bonamassa’s inescapable lust for the blues come through on this barrelling show closer.

All of Rory’s life energy was poured into his music, with his soulful blues feel and unpretentious warmth shining in every song. In many ways, he defined the working man’s blues, with his heartfelt, passionate performances a large part of his DNA. Joe was cut from the same cloth — industrious and an ingenious, tasty guitarist in his own right.

There will only ever be one Rory Gallagher, but when a fellow guitar great takes the time to inject their own intensity and musical voice to one of his biggest sources of inspiration, we should just enjoy it. Not forgetting, it puts Rory’s name up in lights to a new generation.

All in all, it’s an enthralling and energetic contribution to Rory’s ongoing legacy.

The Review: 8/10

Can’t Miss Tracks

– Who’s That Coming?
– A Million Miles Away
– As The Crow Flies

The Big Hit

– A Million Miles Away

The post Joe Bonamassa: The Spirit Of Rory – Live From Cork Review appeared first on Blues Rock Review.

Silenoz gets into why his working relationship with Dimmu Borgir's Shagrath has thrived through the years. Continue reading…