Swedish hard rock rising stars Wasted Wizards are back with their brand new single ‘Monkey See, Monkey Do‘, now available on all digital platforms and on YouTube with a music visualizer. Listen to ‘Monkey See, Monkey Do‘ – here Widely considered one of the strongest up-and-coming Hard Rock bands in Sweden right now, Wasted Wizards […]
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As It Is have shared the next piece of their upcoming self-titled album, and it’s a reminder of what it means to look out for one another in this strange world.
Titled ‘Marilyn’, it finds the band dipping into another corner of their musical interests. Bright and breezy acoustics and a storytelling flow similar to the sort that Counting Crows and The Hold Steady have plied their trade on over the years, it’s a track that you can tell is incredibly close to Patty Walters’ heart. A tale of a chance encounter during his youth that has had a lasting effect on how he sees the world, and how he hopes that others see him now, it serves as a foundation for connection. For you to speak to everyone you meet and share what you are going through, because you never know how that interaction might change your life.
Patty had this to say about it, explaining, “It’s never felt easier to be a pessimist and nihilist, so writing a song about hope and humanity felt right. It’s about a near-stranger and their goodness making a big difference early on in your life, but how hindsight can make that difference even clearer. But it’s also about how people are never really gone – not while their words, actions, and values live on the people their lives have touched. Good people are everywhere, all around us, all the time. This song is about them, and it’s for everyone whose lives are better for knowing them.”
Check it out alongside a video showcasing the beauty of the band’s hometown, Brighton.
‘As It Is’ will be released on July 17 via FLG. The tracklisting for the record now looks like this:
1. I’m So Alive!
2. Ruin My Life (Feat. Murray Macleod)
3. Do You Remember?
4. Live, Laugh, Love, Los Angeles
5. Marilyn
6. Watching The World Go Bye
7. Lose Your Way & Find Yourself
8. Last At The Party
9. Turn To Dust
10. If I Ever Lost You
11. Not Anymore
12. What If It All Works Out
Have a listen to the previously released ‘Ruin My Life’, below.
The post As It Is Share Deeply Human New Track ‘Marilyn’ appeared first on Rock Sound.
Channeling the spirit of ’90s indie rock, Brief Success by The Crawling Eye delivers a gritty yet melodic ride driven by raw guitars and a steady, energetic rhythm section. The standout element is the powerful female vocal performance, which cuts through the instrumentation with confidence and attitude. Blending nostalgic alt rock textures with a fresh, punchy delivery, the band captures the loose authenticity that defined the era while keeping the sound lively and immediate.
Brief Success thrives on attitude, melody, and unfiltered indie rock energy.
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With Seaside Moments, Wandour crafts a dreamy slice of indie electronic nostalgia, blending ethereal melodies with a steady, hypnotic breakbeat pulse. The track feels like a sonic postcard from memory, where shimmering synth textures and warm analog tones recreate the fragile beauty of fleeting moments. Through the use of field recordings and cassette-processed sounds, Wandour builds an atmosphere that is both intimate and immersive. Seaside Moments drifts gently between reflection and motion, capturing the quiet melancholy and warmth of half-remembered days by the sea.
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Inouie [Release date : 13.03.25] It’s temping to use phrases like ‘Back to the 70’s’, for a band who unashamedly draw on influences such as Thin Lizzy and Led Zeppelin. They also who have singer who is the equal of … Continue reading
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Ace Von Johnson grew up as a punk rock kid, missing the vaunted ‘80s hair and glam metal scene by a few years. But after moving to L.A. and becoming a part of that scene in his 20s, things changed. Things changed so much that Von Johnson found himself a member of not one, but eventually two classic groups from the Sunset Strip era: Faster Pussycat from 2010 to 2020, and since 2018, L.A. Guns. As for what he’s learned along the way, Von Johson tells ClassicRockHistory.com, “Now 25-plus years in, and I have no delusions of grandeur as far
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[Cover art by Timbul ‘Bvllmetalart’ Cahyono]
Here’s the logline on Screams from Beneath the Surface, the seventh full-length album from Florida mainstays Monstrosity: it’s a calorically dense slab of death metal that doesn’t even attempt to compete on the level of ferocity with today’s brutal-tech boundary pushers, but it carves out a comfortable niche for itself with sharp riffs and professional songcraft.
Though so much has changed for Monstrosity since the days of their rightly hailed debut, Imperial Doom, and its sneakily superior follow-up, Millennium, this project still resides in the deregulated borderland between death and thrash. While those first two largely comprised riff-n’-blast bombardments rounded into form by sheer force of will, Screams is a songs-first affair.
Take album intro “Banished to the Skies,” a proper slow-burning mood setter that strikes a series of traditional heavy metal poses (clean-channel arpeggios, melodic leads and galloping triplets) to gradually ratchet the tension before paying it off with a bona fide betcha can’t play THIS-er of a solo. Paired with an Audiohammer/Morrisound engineering job that is suitably modern but not noticeably overcooked or quantized to my ear, and you’ve got a final product that sounds a lot like a modern Kreator record, but without the fist-pumping overtures to those European mega-fests. Does that sound pretty good to you? Hope so, because Screams offers ten tracks of it.
“Colossal Rage,” the lead single, is of a more distinctly death metal mien, with a particularly nasty riff that chases its tail up and down the fret-board at around 1:14. Then we’re right back to death-thrash land at 2:10 with a barrage of pummeling gallops into minor-third dyads that is exquisitely simple and tuneful in equal measure.
Screams from Beneath the Surface by Monstrosity
Here I’ll note that while drummer Lee Harrison is Monstrosity’s sole consistent member since its inception and has never once employed the same lineup on consecutive albums, he does deserve credit for letting his guitar co-conspirators bring their best to the pot-luck, however brief their engagements may be. Here, as it was on 2018’s The Passage of Existence, it’s Chaos Inception’s Matt Barnes bringing his A-game to his B-band. On “The Spiral” and “Fortunes Engraved in Blood,” Barnes employs the occasionally misplaced art of writing interesting riffs for himself to solo over, creating a more expansive playground to dance through moods and modes.
Release date: March 13, 2026. Label: Metal Blade RecordsOf course, there are a few catches. Just today, I was chatting with a pal who explained he was glad to be exploring more technical, brutal death and generally psychotically extreme metal as a means of reliving the pure exhilaration he felt when first diving deep into metal. At its best moments, Screams won’t appeal to the tired ears of such novelty seekers. And even those who still derive a simpler kind of satisfaction from taking the measure of a well crafted composition may find they’ve had their fill somewhere around Scream’s final act, especially as it settles into a comfortable-veering-on-complacent cadence.
But, well, let me just run this by you.
I recently conducted a poll of my fellow Last Writers, which produced a not totally surprising result:
I chose these two because I generally regard Vader as a band that’s achieved legendary status in the field of death metal through metronomic consistency. And Monstrosity? To be completely honest, it sometimes feels like we don’t regard them as much of anything at all.
I don’t view the results of this poll as some sort of world historical tragedy or feel particularly inclined to shake my colleagues by the shoulders to disabuse them of an inclination I shared myself before diving deep into some previously uncharted corners of Monstrosity’s catalog. But, you know what? This is a good fuckin’ band. And Screams is at least competitive with the kind of albums self-respecting death metal vets put to market 30+ years into their career. Since faint praise never did anyone any favors, I feel duty-bound to repeat that this album gets a little over-long and dun colored as it proceeds, and I think a band of this caliber is capable of better. But in the final analysis, there are a few tracks on here that will go on my all-time best o’ Monstrosity playlist, which’ll get spun on chest/back days in the gym. I’ll look forward to listening to the whole thing when I binge the band’s catalog, and when I rank all seven this is going closer to the top than the bottom. It is, if not in sound, at least in spirit, a lot like a contemporary Vader album. And for the record, those two votes that marked it as close? Pretty sure they’re the only fellers who’d had a chance to hear Screams from Beneath the Surface.
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With A Name I Once Belonged To, Michael Millerman delivers a deeply personal and stylized autobiographical piece that unfolds with reflective sincerity. The song moves patiently through its narrative, allowing its lyrics to take center stage as they trace themes of identity, memory, and emotional transformation. Millerman’s storytelling approach gives the track a confessional tone, where love and self-reflection intertwine across a carefully structured composition.
Thoughtful and intimate, A Name I Once Belonged To feels less like a typical single and more like a musical chapter from a life story still unfolding.
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