Category: news

Seattle (WA) – Cruz Del Sur Music has released new Greyhawk album, Warriors of Greyhawk. The official video for the title track is out as well and available at: youtu.be/fa44hjT_qq4

Stream the album:

greyhawkmetal.bandcamp.com/album/warriors-of-greyhawk

Greyhawk will hit the road in May with Alestorm and Twilight Force for the Mostly Canadian Tour 2026. Tour dates are as follows:

May 19 – Montreal, QC @ Place Bell
May 22 – Toronto, ON @ Rebel
May 23 – Sudbury, ON @ The Grand
May 25 – Thunder Bay, ON @ NV Music Hall
May 26 – Winnipeg, MB @ Burton Cummings Theatre
May 28 – Edmonton, AB @ Midway Music Hall
May 29 – Calgary, AB @ MacEwan Hall
May 31 – Vancouver, BC @ Commodore Ballroom

Fusing classic U.S. power metal, AOR and all things epic metal; Greyhawk returns with their third album of triumphant battle hymns!

Refreshed, rejuvenated and ready for adventure; Greyhawk are back with their third album of epic, melodic power/heavy metal fused with an anthemic AOR angle. Shredding guitars, soaring vocals, powerful rhythms and songs that will stick with you are all a part of this majestic opus. 

From the very beginning you will be met with soaring guitars, pounding riffs and a classic heavy/power metal attack from the instrumentals. Grandiose and powerful vocals complete the mix, which is perfectly blended by Henrik Udd’s sublime production which is detailed and grandiose. Daniel Porta has provided artwork for this record and clearly the band have had a strong input on all aspects of the release to make sure the entire experience is gripping for you, the fans.

Track Listing:

1. Ascension

2. Land Of Ashes

3. Take A Stand

4. Endless Race

5. Warriors Of Greyhawk

6. Words Of Power

7. Chosen

8. Hyperspace

9. Embers Rise

10. Rise Above

11. Eternal Quest

Purchase Warriors of Greyhawk:

greyhawkmetal.bandcamp.com/album/warriors-of-greyhawk

CD: https://tinyurl.com/38e89aaj

TAPE: https://tinyurl.com/y7jn6xn7

LP BLACK: https://tinyurl.com/3eyd49fz

LP LMT: https://tinyurl.com/mpzmnk4s

NOTE: North American physical product distribution is set for March 6.

Line-Up:

Anthony Corso: Vocals
Jesse Berlin: Lead Guitar
Rob Steinway: Rhythm Guitar
Darin Wall: Bass Guitar
Nate Butler: Drums

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Source: ClawHammer PR

I think I saw you at my window
You know it’s dark at night but I know
I think I saw you at my window
I think I always see your shadow

There is something deliciously sinister about calling your project Jet Cemetery. It suggests speed meeting stillness, glamour grounded, chrome kissing concrete. Out of Austin, TX, where idealism and irony share a drink, TaSzlin Trébuchet (of Fuck Money) and Lars Wolfshield (Wolfshield Records) convene as if at a séance for obsolete futures. The result: The Canary, arriving March 12th, 2026, on vinyl, tape, and Dolby Atmos, because even despair deserves spatial depth.

These are not dilettantes dabbling in dystopia. Both have histories as artist-activists, fluent in the language of liberation, dignity, and direct action. Yet Lights Out, the single at the centre of this slow-burn transmission, shrinks the revolution to a room, a window, a mind in mild disarray. The lyrics fixate on a presence glimpsed at night, perhaps memory, perhaps paranoia, perhaps that old lover who still rents space in your peripheral vision. The relationship is ash; the bridges politely immolated.

Trébuchet traces the track’s lineage with refreshing candour: “My influences on this one come from growing up in San Antonio in the 90s, listening to electronic music, trip-hop and freestyle.” You can hear that education. The beat carries a certain after-hours patience. Keys drift in like half-remembered radio hooks from a humid Texas dusk. There’s a sense of Y2K déjà vu, the ghost of a CD wallet rattling around in the backseat.

Wolfshield frames the song’s thesis with therapeutic clarity: “Lights Out begins as an internal struggle and culminates in found freedom and empowerment. Why do we keep holding on to that which doesn’t serve us? It’s time to let go, to say goodbye, to put a foot down…and to stop letting toxic things, whether they be people, thought patterns, or substances, govern our realities.” It’s a manifesto delivered with nightclub poise: self-help for the softly disillusioned.

The video opens with a wink: a news segment interviewing goth vampires. Yes, really. It is knowingly absurd, which is precisely the point. From there, it slips into cinéma vérité drift: rooftops at dusk, wandering streets, abandoned buildings, nature reclaiming neglect. Shot in Bordeaux, Paris, and Austin, directed and edited by Trébuchet, it feels like a love letter to that era when digital glitches were accidental…and therefore divine. A dreamy montage of youth in transit, flirting with freedom and the faint possibility of falling apart.

Watch below:

Produced by Trébuchet, engineered by Charles Godfrey at Point West Recording, mastered by Marco Ramirez at Britannia Road Studio, Lights Out arrives polished but personal. It’s electronic music delivered with dry wit and a raised eyebrow. This is a song for fans of Boan, Las Eras, Madeline Goldstein, The Cranberries, and for anyone who has ever stared out a window at 2 a.m., convinced they saw something move. Or perhaps simply themselves, reflected back, asking awkward questions.

Listen to Lights Out below and order the single here.

Follow Jet Cemetery:

• Instagram
• Bandcamp
• Apple Music

The post “I Always See Your Shadow” — Austin’s Jet Cemetery Sheds the Darkness in Video for “Lights Out” appeared first on Post-Punk.com.

Trip-jop arrived like a sultry, club-inspired dusk, dismissing daylight’s certainties and concerns for a languid, liminal dream. In the mid-90s, before the millennium’s digital glare, Bristol basslines moved at the speed of doubt. Beats dragged their heels; voices hovered, half-present, half-remembered. It was club culture turned inward – after the rave, before the reckoning. Chill electronica became a thinking person’s pulse, vinyl crackle as philosophy, delay like tracing passages in a diary. In the work of Massive Attack, Sneaker Pimps, Moby, Portishead, and Tricky, paranoia felt plush and intimate. A vibe for the century’s end: slow, suspicious, sensual—music that mistrusted the future and made a home in that hesitation.

Now, out of that fin de siècle friction comes The Guillotines: producer Kubi Öztürk, vocalist Alexandra Kimel, filmmaker-bassist Simon Baucks, and multi-instrumentalist Benni Zimmerman. Four vantage points, one shared pulse.

Their latest release, pool painted black (Kubi’s Side) tilts their recent debut single toward that slipstream of those beloved 90s trip-hop acts. KU8I stretches the original track (released last month) into a slow-burn glide: bass low and patient, percussion clipped and clean, Kimel’s clear voice suspended in cool air. Memory hums beneath it: CD booklets, dim bedrooms, first freedoms, yet the arrangement keeps its footing in the present tense. It’s not quite nostalgia… more nostalgia-adjacent.

There’s an elegant poise and sophistication in the track: dreamy textures drift over grounded grooves; delay blooms, then clears. The remix moves like a mild spring drive, windows cracked, the city sliding past in sodium blur. It offers respite without retreat, intimacy without inertia. Sometimes it’s just good to zone out with a great tune like this one…a small sanctuary for late hours, wrapped in a Snuggie eating cheese and crackers after a chaotic day of deadlines and doomscrolling.

“Feeling like a trip you take in the backseat of your parents’ car on a mild spring day, Kubi’s side is willing to have you look at the pool painted black in a wholly different light,” says the band.

Listen to pool painted black (Kubi’s Side) below:

As an opening statement, pool painted black (Kubi’s Side) sketches the band’s coordinates: electronica brushed with blues, post-rock patience, a hint of indie-dance propulsion. Chaos and order share the same room. Berlin breathes in; The Guillotines breathe out.

Follow The Guillotines:

• Bandcamp
• Spotify
• Apple Music
• Instagram

The post Berlin’s The Guillotines Unveil Dreamy Kubi’s Side Version of Debut Single “Pool Painted Black” appeared first on Post-Punk.com.

21-year-old Oregon-based musician Sean McFarlane has released a ton of music on Bandcamp over the past few years, with his most recent records attributed to his moniker Trimmo. His next album Arizona is coming this spring from the great LA label 7th Heaven, and it’ll be a good one based on today’s lead single “Flood.”…

The post Trimmo Announces New Album <em>Arizona</em>: Hear “Flood” appeared first on Stereogum.

If you see a package wrapped and tied
the secret is inside
I saw image of my youth quiet moment of memories
Relax away the nonsense I have set in front of me 

Pocket lollipops operates as if an album were a living entity, a puzzle to solve. Their latest record, Number 2990 (Part 1), presents itself as a gradual flow of ideas spread over months, blending time, routine, and anticipation. Created during the hot summer of 2025 and mastered by Kramer, it exudes a unique authority—carefully preserved yet still wild, unrestrained, and slightly amused with itself. This embodies Miami’s experimental noise rock and punk, reminiscent of an art exhibit that intentionally avoids explaining itself.

Maitejosune Urrechaga and Tony Kapel position sound as one component among language, gesture, visual texture, and patience. The six-month rollout – one track per month, looping back on itself – functions like a game board with missing instructions. In this perpetual game of strategy, meaning slides sideways as sensation takes over and the record listens back.

Throughout Number 2990 (Part 1), Pocket of Lollipops blurs music, performance, and visual thinking until the distinctions feel unnecessary. Album covers, live gestures, and aesthetic choices are not accessories; they are extensions of the same idea. This is a record that behaves like a question asked repeatedly, with slight variations each time.

Slingshot sets the tone through accumulation. Spoken word floats over uneasy synth shapes, repetition acting as propulsion rather than hook. The track leans into a curious lineage that brushes against Sonic Youth’s permissive noise logic and Delia Derbyshire’s sense of texture as thought. Community, drawing, archives, small acts of making – these images stack up quietly. Release comes as a sense that enough has been gathered to move. The Cloak’s Whisper tightens the focus. Bass leads with intent, minimalist post-punk drumming keeping things stripped and deliberate. The vocal delivery sits close to sprechstimme, flat and forceful in its calm, recalling Delta 5’s chant-like directness. The song circles boundaries, intrusion, and self-possession.  The repetition of “you exist” lands like a private spell, understated yet firm.

Time Traveler opens outward. A forlorn guitar introduces a hazy interplay of male and female voices, echoing and slightly askew. There’s a looseness that nods toward Yacht’s off-kilter pop instincts, where forward motion feels communal. Images of breaking, watching, and loving strangers appear as fragments. Time stretches, bends, keeps moving.

Plaid Shoes brings childhood imagery into collision with something heavier. Atonal chanting rides atop tribal percussion, playful and ominous in equal measure. The lineage splinters here: Talking Heads’ nervous art-funk energy brushes up against Blondie’s streetwise cool, filtered through Sonic Youth’s tolerance for abrasion. Something dies, something grows teeth. The body reacts before the mind catches up.

Sock Song retreats into domestic detail: couches, coffee tables, socks worn to bed. The chant returns, sing-song and unsettled, again touching on Delta 5’s rhythmic insistence. Ominous guitar hums beneath affirmations repeated until they start to feel necessary. Crickets mark time passing as wisdom arrives sideways.

Be Your Own Detective closes Number 2990 Part 1 by refusing closure. It opens with the false cheer of an advertisement before dropping into a no wave scrape that evokes Lydia Lunch’s confrontational minimalism and Bikini Kill’s blunt urgency. Games, toys, rules, cheating – all the language of play repurposed to interrogate trust and care. The mystery remains unresolved by design.

Listen to Part One of Number 2990 below and order the album here.

Number 2990 Part 2 looms in 2026, its form undecided, its method unknown. That uncertainty feels essential. Pocket of Lollipops just want to keep rolling those dice again and again.

Follow Pocket of Lollipops:

• Instagram
• Facebook
• Spotify
• YouTube
• Bandcamp
• Website

The post “The Secret is Inside” — Miami Post-Punk Duo Pocket Of Lollipops Share “Number 2990 (Part 1)” appeared first on Post-Punk.com.

Wacken Open Air is one of the most recognisable names in heavy music anywhere on the planet. Now in its 35th year, the legendary German festival has become a global meeting point for metal fans, bands and industry alike. A place where the underground and the established stand shoulder to shoulder. On April 18, the […]

A touchstone of Australia’s live music culture, Groovin The Moo returns in 2026 for a one-off show on May 9 in Lismore, presented by Great Southern Nights with the support of the NSW Government through Destination NSW and in partnership with the Australian Recording Industry Association (ARIA). First established in 2005, Groovin The Moo was […]

US heavy hitters FIRE FROM THE GODS have officially announced their long-awaited debut Australian tour, set to ignite stages this August 2026 in Brisbane, Melbourne, Perth & Sydney Known for their explosive live energy and genre-defying sound, the band will bring their uncompromising intensity to four major cities across the country. Blending Hard Rock, Metal, […]

Perth based melodic death metallers VANTA are set to release their debut full-length album, Perpetual Selection on March 13. The album is an emotional journey that offers catchy, melodic passages and ferocious moments with an engaging, atmospheric approach. With a wide spectrum of influences and modern production, Perpetual Selection pushes the genre forward while honouring […]

Chicago’s northwest suburbs gave The Shadows of Knight a launching pad, and the band quickly turned local club heat into national chart action. Formed in 1964 as the Shadows, the group changed its name in 1965 after learning a British act already used the original name. The new moniker leaned into the British Invasion moment, and it also nodded to Prospect High School in Mt. Prospect, where four members attended and whose teams were called the Knights. Early on, the core lineup centered on vocalist Jim Sohns, with Warren Rogers, Norm Gotsch, Wayne Pursell, and drummer Tom Schiffour, then shifted

The post Top 10 Shadows Of Knight Songs appeared first on ClassicRockHistory.com.