Category: news

  • TSIRHIC set release date for IRON BONEHEAD debut mini-album, reveal first track

    Today, Iron Bonehead Productions sets August 21st as the international release date for Tsirhic‘s striking debut mini-album, To Satan I Reply…, on CD and 12″ vinyl formats. Tsirhic is a new one-man band hailing from the United States. Despite this newness, the sound across the opening To Satan I Reply… is most definitely OLD. No more but definitely no less, Tsirhic exclusively play black […]

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  • INSOMNIUM – release “Gleam in the Black”, 2nd Single and Video from Upcoming Album, “Netherworlds”

    “How could I have held you?How could I have kept you mine?The fairest light of allA gleam in the black” Finland’s undisputed masters of melancholy, INSOMNIUM, are unveiling their latest single and video, “Gleam in the Black,” offering an even deeper descent into darkness and the shadowy realms beyond. Blending haunting melodies with crushing heaviness, the […]

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  • Unicorn Dogs – Closer To Death


    Two years ago, Unicorn Dogs released Age Typical Junk Behavior, one of the best pop-punk debut albums of whatever you want to call this nightmare of an era we’re currently attempting to survive. It was a debut that was going to be almost impossible to top. I say almost because here we are on the 25th of July in the year 2026, and Closer To Death (brought into the world by those twin institutions of musical excellence, Jolly Ronnie Records and Mom’s Basement Records) has indeed topped its mighty predecessor. If Age Typical Junk Behavior was the album that solidified modern-day pop-punk as the soundtrack to everyone’s midlife crisis, Closer To Death takes things to the logical next level. It’s an album about how much it sucks to get old — especially in a bizarro world where the robots are taking over and 2 + 2 can equal 5 depending on whom you vote for. If you’re looking for a record that will make you optimistic about the world or offer lighthearted escapist entertainment, this is most certainly not it. But if you want to pump your fist in the air and shout along at the top of your lungs to impassioned, anthemic pop-punk songs that will feed the fire of righteous indignation raging inside you, this record is not to be missed. 

    What makes great pop-punk great pop-punk? There are a lot of ways to answer that question, but there’s something about simple, two-minute-ish songs with punchy guitars and earworm hooks that I never, ever tire of. I could live to be a thousand years old and hear records in a thousand different genres, and I’d still steadfastly maintain that the Ramones were every bit as important as Beethoven. Of course the caveat is that the style has to be done well, and that’s the main thing Lucas and Jon bring to the table. They’re not trying to be original or innovative. But they’re just so freaking good at writing simple pop-punk songs. They play a tried-and-true style of music, but they make it current and fresh by writing about things that matter to them. If you could measure the passion and urgency that goes into music, these guys would be a ten out of ten every time. 

    And so here we have Closer To Death, and as usual, the songs rip hard and really have something to say. If you’re going to write songs about living out your miserable decline in a word where everything sucks, you better have a sense of humor about it. And that’s the magic of Unicorn Dogs. They can be (and often are) quite serious a lot of the time, but they also know how to make an art form out of self-deprecating humor. A lyric like “More than half my life is over with/Not sure I made the most of it/I don’t have a bucket list/Just a lot of things I wanna quit” makes me laugh so hard precisely because it speaks a truth I can relate to. These guys aren’t playing the brand of pop-punk where middle-aged men pretend they’re still teenagers. They’re playing the brand of pop-punk where middle-aged men begin reckoning with the sneakily rapid of encroachment of Father Time. If you relate to that description, this record has got plenty for you to chew on. Here we have anthems for people who have managed to get older without getting wiser and who feel like time has made them worse versions of themselves. This band writes profoundly about failure, regret, and just being plain tired of being beaten down by life. That’s really heavy stuff, but it’s also honest and real. The social commentary side of Unicorn Dogs (“Hallucination Free,” “One Disaster Away,” “Replaceable”) is perhaps an even more bitter pill to swallow, but again, it’s not like these guys are wrong about anything. There’s even a hint of optimism in “Fix Your Heart Or Die” (“We don’t fight because we’ll win/We fight because there are things worth fighting for/And we gotta try”). The song is a reminder of why protest music (and protest in general) are so vital in this moment. And at a time when simply being a kind, empathetic human is an act of rebellion, Unicorn Dogs are here to show us the way. 

    In spite of its title, Closer To Death is by no means a bummer of a record. Lucas and Jon (joined by Jon’s son Oliver, who kills it on drums) might write from the perspective of disillusioned, over-the-hill folk who feel like life has passed them by. But the truth is that as musicians and songwriters, they’ve never been better than they are right now. You don’t get the backing of two of the best pop-punk record labels ever by accident. Closer To Death is the best record they’ve ever made. It’s packed with smart, super-catchy punk songs that mix their candidly dark musings with an undeniably upbeat energy. If these lyrics were about dominating in pickleball, cooking the perfect lentil soup, and the thrill of stargazing, this would still be quality pop-punk. But it wouldn’t quite hit the same, would it? If you take these songs too seriously, it’s like spending 27 minutes with Debbie Downer. But I don’t listen to these songs and hear complete resignation. Amidst all that frustration, disappointment, and self-effacing humor, I hear a fighting spirit that won’t stop pushing. I still don’t feel my age, but the cold, hard math of me being as close to 70 as I am far from 40 really fucks me up sometimes. A little more urgency in my life would not be a bad idea. We’re all getting a little closer to death every day. But that leads to an obvious question: What are we gonna do about it?

  • W:O:A Festivalstore – Bucht vorab euer Frühstück

    Ihr habt alles eingepackt, vor allem das Frühstücksbier, und trotzdem knurrt euch der Magen? 

    Dann bekommt ihr über unseren Festivalstore etwas Handfestes, um die erste Hungerattacke zu überstehen!

    HIER GEHT ES LANG!

    Achtung: das Angebot bezieht sich auf den Früstücksstand auf Fläche V

    Der Beitrag W:O:A Festivalstore – Bucht vorab euer Frühstück erschien zuerst auf Live, laut, legendär!.

  • Kurt Vile & Czarface’s Esoteric Finally Link Up Onstage In Boston

    Kurt Vile and Czarface’s Esoteric have finally linked up. A few months ago, Kurt Vile (who is rarely seen without his DOOM hat lately) named a Czarface / MF DOOM album as his “Perfect 10” album for Pitchfork. Czarface commented on the Instagram post, “KV!! Let’s get some music done!” In Boston last night, Esoteric joined Vile onstage to rap over “Bassackwards” from 2018’s Bottle It In.

    The post Kurt Vile & Czarface’s Esoteric Finally Link Up Onstage In Boston appeared first on Stereogum.

  • Fatal Vision Release Official Music Video For ‘Maybe Someday’

    Canadian melodic rock band Fatal Vision unveil the official music video for ‘Maybe Someday‘, another chapter from their latest studio album ‘Four Sides to Every Story‘, available now worldwide via Escape Music. Buy ‘Four Sides to Every Story‘ – here The video carries the album’s cinematic storyline forward, once again following the same characters through an […]

    The post Fatal Vision Release Official Music Video For ‘Maybe Someday’ appeared first on ROCKPOSER DOT COM.

  • Sick Of It All Frontman Lou Koller Dead At 59

    Lou Koller, the frontman of the longstanding New York hardcore band Sick Of It All, has died. The vocalist and co-founder revealed in 2024 that he had been diagnosed with esophageal cancer. The band announced his passing on social media yesterday. He was 59.

    The post Sick Of It All Frontman Lou Koller Dead At 59 appeared first on Stereogum.

  • Melinda Joy & Son of Cormack Out of the Blue Review

    Melinda Joy & Son of Cormack Out of the Blue Review

    Some connections arrive without warning. Melinda Joy & Son of Cormack’s “Out of the Blue” captures that delicate moment when a new love begins to feel important, even though neither person knows where it may lead.

    Melinda Joy & Son of Cormack Out of the Blue review artwork

    Melinda Joy & Son of Cormack – Out of the Blue

    “Out of the Blue” begins with a beautiful guitar arpeggio that invites the imagination to wander. Its gentle progression carries the feeling of open roads, distant coastlines, and thoughts unfolding in silence. When the drums enter, they are soft yet intense, establishing a rhythm that suggests movement without disturbing the song’s intimacy.

    The result feels like two journeys happening at once. One is physical, moving through the landscape. The other is internal, following the uncertainty and excitement of a relationship that has only just begun. The restrained arrangement gives these emotions enough room to breathe, allowing every instrumental detail to contribute to the atmosphere.

    Melinda Joy’s voice introduces a delicate, distinctly feminine presence. Her performance feels natural and vulnerable, carrying the quiet wonder of someone attempting to understand an unexpected emotional connection. George McCormack answers with a voice full of intriguing nuances. His expressive delivery reaches beneath the surface, while a subtle rasp gives his tone additional warmth and character.

    Out of the Blue by Melinda Joy & Son of Cormack – Voices in Conversation

    The song develops through an intimate exchange between the two singers. During the verses, the male and female voices respond to one another, almost as though the listener is overhearing a private conversation. Their different vocal qualities create tension and tenderness at the same time. Each perspective remains individual, yet both appear to be moving toward the same emotional destination.

    When the voices finally unite in the chorus, the song opens naturally. The harmonies make the emotions feel larger, transforming private uncertainty into a shared possibility. It is a simple but effective structural choice: the verses present two people cautiously approaching one another, while the chorus allows them to inhabit the same emotional space.

    At its heart, “Out of the Blue” is about a love that has only recently appeared. Its future remains uncertain, but in the present moment it feels meaningful. Perhaps the surrounding landscape intensifies that feeling. New places can make emotions appear sharper, freer, and more permanent than they may eventually prove to be.

    Out of the Blue – Sound and Arrangement

    The production remains minimalist throughout, but it never feels empty. The bass moves with a measured, cadenced pulse and follows the drums with impressive precision. Together, they form a steady foundation beneath the wandering guitars and intertwined vocals.

    During the chorus, a lightly crunchy electric guitar introduces a welcome surge of energy. Soft pads expand the sonic space behind it, giving the melody a broader horizon without overwhelming the acoustic intimacy established at the beginning. These subtle additions make the chorus feel brighter and more expansive while preserving the song’s reflective character.

    Nothing in the arrangement appears unnecessary. The instruments support the story rather than competing with it. Small production choices gradually widen the atmosphere, mirroring the way a new relationship can begin quietly before occupying an increasingly important place in the imagination.

    A Journey Through Southern Ireland

    The accompanying video strengthens the song’s emotional meaning through its images of Southern Ireland. Melinda Joy and George McCormack travel through beautiful natural landscapes, but the video avoids turning their journey into an exaggerated romantic spectacle. Instead, it concentrates on simple moments: looking toward the sea, sitting together in a field, walking through open spaces, and sharing time without apparent urgency.

    These moments may appear small, yet the video suggests that they are often the ones that matter most. Love is not always revealed through dramatic declarations. Sometimes it becomes visible through shared silence, an unfamiliar view, or the quiet decision to remain beside someone a little longer.

    The landscape becomes more than scenery. It reflects the freedom and uncertainty surrounding the couple, giving physical form to their desire for a different kind of life. The open fields and coastal views seem to promise possibility, while the subdued performances remind us that every promise remains fragile.

    “Out of the Blue” is a folk ballad that enters gently and lingers in the soul. Its memorable melody, restrained instrumentation, and expressive vocal dialogue capture the vulnerability of emotions that are still taking shape. Melinda Joy & Son of Cormack have created a sincere and atmospheric song about those rare moments when another person suddenly changes the direction of the journey.



    Delicate

    🔥 If you love atmospheric music like this:

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    Find Melinda Joy & Son of Cormack here:

    Spotify | Instagram


    The post Melinda Joy & Son of Cormack Out of the Blue Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Hayley Williams Brings Out Wednesday, This Is Lorelei, Jack Antonoff, & More At Newport Folk Festival

    No one is tapped in quite like Hayley Williams. That woman has taste. She brought Water From Your Eyes and Snuggle with her on her first solo tour, and there were many great guests, like Snooper, Julien Baker, and more. Last night she played the Newport Folk Festival and brought out Wednesday, This Is Lorelei, Jack Antonoff, and many, many more.

    The post Hayley Williams Brings Out Wednesday, This Is Lorelei, Jack Antonoff, & More At Newport Folk Festival appeared first on Stereogum.

  • DS Show Review: The Spits w/Toys That Kill and Mondo Mundo at The Sardine in San Pedro, CA

    On their West Coast Campaign, the robotic, futuristic, “space-age mutant punk rockers” known as The Spits stopped by The Sardine in San Pedro, CA on Wednesday, July 15th, with Toys That Kill and Mondo Mundo.


    The Venue


    The Sardine is a great venue and always has great bands coming through. Being that it’s in San Pedro, home to the legendary Minutemen, there is a lot of Minutemen recognition hanging along the inside of the venue. Upon entering, there is a bar directly ahead, there are vinyl and cassettes for sale from Recess Records in a small area to the left, next to the music is an entryway to a large room with a stage to the right and merch selling to the left (back of the room).

    The Show start time was 8pm.

    Mondo Mundo


    A good-sized crowd formed for the LA-based synth-punk band, Mondo Mundo, who opened the night.

    Mondo Mundo is a project formed in 2022 by Andrew Clinco (of Drab Majesty and VR Sex) and Cesar Reyes (of The Warlocks).

    They sang in Spanish and had a blend of ‘80s wave rock with post punk. Cesar Reyes on keys, Andrew Clinco on guitar and the duo had help from a bassist for the live show. I thought the music and performance was really good and their unique sound had me interested. My only critique is that I prefer live drums over drum machines (call me old-fashioned), but I would definitely check out more of their music.

    They frequent Los Angeles venues like Zebulon, check them out!

    Toys That Kill

    Toys That Kill played next, performing almost the entirety of their newly released album, Triple Sabotage, along with other classics like Runnin’ The Front and Waltz One Million.

    A small mosh pit formed for the faster tunes like Safe Song and it was awesome to hear their new stuff performed live. My favorite track of the night was We Didn’t See Nothin’.

    TTK always kills it.

    Check out Toys That Kill setlist below:

    My Kinda Rockstar
    S.D.R.T.T. Go!
    The Safe Song
    We Didn’t See Nothin’
    The Cutting Board
    Oh Hey
    Backwash Me The Antidote
    Waltz One Million
    The Nervous Rocks
    Fighter Dater
    Inside The Residue
    Runnin’ The Front

    The Spits

    The Spits started playing around 10:20pm. This was one of the craziest mosh pits I’ve seen in a while, just massive, full of energy, and full of sweat (it was at least 90 degrees inside the venue).

    A fight broke out between two kids, Sean Wood shut it down fast saying “hey guys no fighting at a punk show, we all came to have fun, if you can’t handle a pit then get out,” and the kids were split up.

    The Spits have been bringing young people out to shows for decades now. Featuring the voice of a Frankenstein-esque monster singing “It’s my life, get off my back” and “Shitty World,” it’s not a surprise that young people always connect with their ironic spin on teenage angst. The lyrics are funny, but you can still feel them.

    Check out The Spits setlist below:

    Tired and Lonely
    Witch Hunt
    I’m Scum
    Dropout
    Up All Night
    Live In A Van
    Saturday Night
    She Don’t Kare
    Pct
    All I Want
    Tonight
    My Mess
    Remote Kontrol
    SK8
    Bring
    Nuclear Bomb
    Rip Up The Streets
    I H8 Pussies
    DIE DIE DIE

    Recess Romp 5 is coming up next month as well as other great shows at The Sardine, go check them out!