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Songwriter icon Harlan Howard came to love country music as a kid listening to the Grand Ole Opry on the radio. When he came up with the phrase, “three chords and the truth”, the truth he was referring to was that life in rural America was hard. World War II was over, but prosperity was […]

As I feel the time slip through my fingers

I wish I accomplished more

No matter what was wasted or ignored

With you calmness regains and the ticking is no more, is no more 

Waves Crashing, from Olympia, Washington, make guitar music with a firm belief in the old virtues: the right chord arriving at the right moment, a bass line with some bite, drums that know when to push, and a voice that sounds as if it has been carried through several bad decisions and one good dawn. Since their first EP in 2021, the trio (Josh Calisti on guitar and vocals, Bryce Albright on drums, and Zach Olson on bass) have become a steady presence in the Pacific Northwest alternative scene, releasing music at a patient clip and sharing stages with Wavves, Ringo Deathstarr, Sun Atoms, The Veldt, and Cigarettes For Breakfast.

The reference points are legible without becoming a costume. There is some Pixies tension in the way the songs can move from sweetness to abrasion without warning, some Lemonheads plainspokenness in the melodies, a little Eels-like bruised humour in the emotional posture, and a Jesus and Mary Chain fondness for guitars that arrive with a narcotic haze and a hidden blade. Waves Crashing aren’t here to reinvent the wheel; they’re here to let it roll fast, skip a curb, and spray you with whatever’s left in the puddle.

Their new eight-track collection, In The Blur, finds the band sharpening its blend of shoegaze haze, post-punk momentum, and melodic alternative rock. The title is apt: these are songs about states of suspension, about being caught between who one was and who one might become, between escape and acceptance, between the tug of memory and the plain need to keep moving. The album has the shape of a private weather report without ever overexplaining itself. It is anxious, bruised, romantic, and frequently generous.

Feel The Glow, with gauzy vocals, bass groove, and melodic guitar overdrive, opens with reassurance rather than triumph. Its emotional world is one of survival after uncertainty, the quiet relief of making it through, and the strange tenderness that can arrive when a person stops trying to master every fear. Calisti sings from somewhere near the threshold between collapse and recovery, and the band wisely lets the song breathe. Its warmth comes through restraint; the glow is suggested rather than forced.

Circles, swirls its shoegaze tempest, gives the record a sharper edge, with lyrics that turn toward systems that raise people up just long enough to cut them down: scenes, markets, institutions, little gods with clipboards. The song’s circular structure suits its complaint, setting frustration against a churning sense of repetition. It is about the exhaustion of chasing approval from machines built to keep the chase alive.

Marine Garden softens the guitar, with a gentle paring down of effects, feeling less Shoegaze deluge and more alt-rock via The Cure and The Ocean Blue. Lyrically, it steps outside the previous track’s cul-de-sac trap and floats upon tranquil waters. The song is a seaside meditation on memory, love, and bodily presence, with the beach serving less as scenery than as a temporary reprieve from psychic clutter. Salt air, sunlight, and open blue become a modest cure. Waves Crashing are especially good at this kind of emotional geography, where a physical place becomes a way of thinking.

The lyrical tension returns on Divide, one of the album’s more pointed tracks, whose tight, drum-led rhythm section and jangled guitar drive the point home. Fear, loyalty, indecision, and fractured friendship press against one another until the act of choosing begins to feel almost impossible. The song understands a familiar modern paralysis: the compulsion to watch conflict unfold, the dread of taking a side, the knowledge that neutrality can become its own form of damage.

Out & Away again mixes college-rock jangle with shoegaze crash. Lyrically, it sees through lies and polished authority, reaching the point where departure becomes the cleanest remaining language. The track has a clipped urgency, as though the band is packing a bag while the room fills with smoke. By contrast, “Coming Up For Air” is less about flight than recovery. Sitting between the sound of The Charlatans and Slowdive, the song moves through confusion, endurance, and the desire to become one’s better self, or at least a less wrecked version of it.

The album’s surprise is its cover of Creep. Taking on Radiohead’s most burdened song is always a risk, since the original has been flattened by overuse and cultural familiarity. Waves Crashing find a useful route around that problem by sending it through a dreamy shoegaze treatment, almost as if the Dandy Warhols had wandered in with sunglasses, delay pedals, and a sly grin. It is absolutely magnificent, because it allows it to drift, loosen, and become strange again.

The breezy Ride-esque closing track Next To Me gathers the album’s central concerns – time, regret, love, legacy – and turns them toward intimacy. The song feels aware of hours slipping away, of chances missed or mishandled, yet it finds steadiness in another person’s nearness. After an album preoccupied with cycles, division, escape, and survival, companionship becomes a kind of shelter. In The Blur ends there, with a hand extended in the haze.

Listen to In The Blur below and order the single here.

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The post “Gazing into the Blue Void” — Olympia Shoegaze Trio Waves Crashing Come Up for Air With “In The Blur” appeared first on Post-Punk.com.

Yes recently announced Aurora, the band’s 24th studio album, due June 12 via InsideOut Music/Sony Music. The album is preceded by the new single “Turnaround Situation,” which arrives alongside a visualizer created by Matt Hutchings, whose previous work includes visuals for Greg Lake, Oasis, and Iron Maiden. Aurora features artwork by Roger Dean and Freya Dean.

Vocalist Jon Davison, who has fronted Yes since 2012, said of “Turnaround Situation”: “The lyric came about from the feeling that things can become impossible and inflexible, and that sometimes the only option is to do a complete U-turn. The music itself grew from the incredible openness that the band had to be collaborative and explorative. There’s an emotional and sonic dynamism in the piece that I love.”

Aurora can be pre-order here.

Aurora began taking shape following the “Classic Tales of Yes” 2024 tour. The band worked with a modern workflow, with guitarist Steve Howe and keyboardist Geoff Downes serving as the creative axis. Howe produced the album. “It’s the album we needed to make right now,” Howe said. “We each brought our individual voices to the table, and the result is something that genuinely surprised us all.”

The current Yes lineup is Howe (guitar), Downes (keyboards), Davison (vocals), Billy Sherwood (bass), and Jay Schellen (drums). Sherwood was hand-picked by original bassist Chris Squire; Schellen worked closely with drummer Alan White in the band’s later years.

Aurora will be available as a Limited Deluxe 180g Light Green 2LP+2CD+Blu-ray Artbook & Poster, as well as a Ltd Deluxe 2CD+Blu-ray Artbook, both featuring the stunning artwork of Roger Dean and Freya Dean, as well as a bonus disc of instrumentals, and a blu-ray featuring Dolby Atmos, 5.1 Surround Sound & 24bit stereo mixes (by Curtis Schwartz). The album is also available as a Gatefold 180g 2LP + LP-booklet, Special Edition CD Digipak & as Digital Album. It can be pre-order now here.

When Yes first began sketching out ideas for what would become Aurora, the process was loose and exploratory. There was no preconceived concept at the start, just a collection of musical fragments that gradually began to find one another and take form. Among these early sketches was a piece titled “Aurora,” and it quickly became clear that the name carried certain gravity. It suggested light, emergence, and a sense of vastness, qualities that resonated deeply with the band. Jon Davison remembers how “the title immediately resonated with Steve Howe and sparked visual inspiration for artist Roger Dean, setting a conceptual tone that would guide the project.”

Work on Aurora began almost as soon as the Classic Tales of Yes tour ended in 2024. The idea of a new album surfaced quickly and with the label’s encouragement, the band had the time to develop material organically. Rather than gathering in a single studio for months, they embraced a modern workflow; ideas were born in home studios, shaped independently, and then woven together through constant collaboration. Downes and Howe often acted as the central creative axis, with Howe, as producer, serving as the point through which all ideas eventually flowed.

Across Aurora, each track carries its own character. Some echo the classic Yes approach, others push into new territory, but together they form a cohesive whole that honors the band’s heritage while embracing forward motion. With their 24th studio album, Yes demonstrate not just longevity, but a sustained curiosity, a desire to keep exploring, keep refining and keep discovering their capacity to create.

The post YES Share Visualizer Video For New Single “Turnaround Situation” From Upcoming Album “Aurora” appeared first on Sonic Perspectives.

Johanna Samuels is back. The LA singer-songwriter returned with “White Limousine” featuring Courtney Marie Andrews in March, followed by “Two People, The Moon” last month. Now she’s announcing a new album titled Sorry, Kid to follow 2023’s Bystander. The third single, “Circles” with Tyler Ballgame, is here today. “This is another song off the record…

The post Johanna Samuels Announces New Album <em>Sorry, Kid</em>: Hear “Circles” (Feat. Tyler Ballgame) appeared first on Stereogum.

Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]

Pop Montreal is ready to bring another assemblage of sophisticated musical artists to the venues of La Métropole. The music festival’s 2026 edition — also its 25th anniversary edition — will take place Sept. 23-27, and its initial lineup is out now.

The post Pop Montreal Announces Initial 2026 Lineup appeared first on Stereogum.

There are performers that simply have the x-factor, that point of difference, that magic. Michael Paynter I first came across as a member of Icehouse. From the moment I heard Michael Paynter’s voice it sent a chill through my body. He was singing the parts Iva Davies could no longer reach, Man Of Colours became a showcase of Michael’s immense talent. Since then, he has toured the country countless times with Jimmy Barnes and  Icehouse and has continued to write and produce music with artists that are all a part of our fabric, our musical DNA as Australians. 

Tonight is the first of three consecutive sold out shows in this incredible theatre space. It is the perfect setting for a show that is personable, connective and intimate. Opening with an acapella version of ‘We Are Australian’ just a voice in a spotlight. It set the tone for this evening’s performance. 

‘For The Working Class Man’ saw Paynter at his keyboard for a super stripped-down version that in my opinion blows away the original. The song took on a whole new life and meaning. Let’s face it “For The Working Class Man” is iconic and tonight’s treatment gives the song a brand-new lease of life. It’s like a hug from a friend you haven’t seen forever; it revitalises you and makes you smile. The magic of the song and its meaning is fully unveiled. I have sung along with “For The Working Class Man” thousands of times over the last forty years, yet I haven’t connected with it the way I did tonight.

The story telling in this show begins with telling us all how this show came to be. It was originally a series of seven shows to fill in time while he recovered from the eight shows a week, eighteen month run of the musical Jesus Christ Superstar. Paynter then went on tour with Jimmy Barnes for last seven months. When the idea came about it was intended to piggyback some of those Jimmy Barnes shows who embraced the idea. Embracing it to the point where he extended the hire car and accommodation for Paynter. 

“The first shows sold out in around two days and kept selling. It became twenty-seven shows in the run and has been nothing but an incredible run. This whole year had just blown my mind behind anything that I ever imagined, so I’m just riding this wave” Paynter goes on to say. I’m sure that my interpretation of Michaels words seem dry but that’s intentional as his delivery, warmth and humour, well they need to hit in the way they did live and two-dimensional words can’t convey that.

Paynter continues by saying “These are some of my favourite Australian songs” as he launches into “Age Of Reason” the incredible Todd Hunter (Dragon) written song that came to life via the voice of John Farnham. Stripped back to piano and voice Paynter shows the reason why he has been chosen to play the role of Farnham in the upcoming stage production. I closed my eyes and there was Farnham, all the finesse, all the power, all the depth and beauty in the delivery. The similarity is uncanny and the performance is stellar; there was newfound power in it all. 

Reflecting on his time with Icehouse and his respect and thanks to Iva. The essence of this part of the show was to honour his legacy and history within Australian music. The story here is magical and one full of gratitude.

“Crazy” is not the song I was expecting, but as Paynter says this is his favourite Icehouse song. This rendition is Michael with his acoustic that starts off in his lower register and the emotion flows, the power that follows this is just sublime. The hairs stood on end as he launched into it. The words are lyrical muscle memory as I sing every word to myself along with Paynter but I stop when it’s in full flight just taking in the sheer connection Paynter has with this song.

“I could have called this show My Great Australian songbook as I am under no illusion that this is the definitive list, but one thing I really feel about music is the power of it. There are some songs where I am the exact same person in the exact same place that I first heard that song. This next song is one of those for me because when I first heard it I was so blown away by what was coming out of my speakers that I went through a red light. I had the privilege of writing with one of the writers of this song”. That song is Silverchair’s “Straight Line”. My god what a delivery, it’s part Johns, part Paynter and oh so good. Some of the notes he held here are just mind blowing especially the last one …. Michael Paynter is a vocal god, it simply can’t be denied.

Light and shade is the essence here tonight; emotional balance is the focus and after a slight glitch with his looping station we were thrust into Wolfmother’s “Joker & The Thief” completely stripped back but every dynamic and element of power is still maintained. This song delivered this way shows every contrast you could imagine. The vocal delivery is incredible and one of my highlights so far as you just didn’t expect it.

A brief mention of the John Farnham stage show and the legacy it holds, the personal privilege of doing it and what it means to him.

The stories continue to be amazing, describing his connection to the next song and the way it took him elsewhere when he heard it was exactly what he made us all feel tonight. We were transported, left floating in the magic of John Farnham’s “Angels”. It established a connection to the song I have never experienced before.

This run of shows here at the Athenaeum has sold around four thousand tickets over four shows. This is a testament to the pure talent of this man. Still humble, still very human and still very appreciative of the support and love he receives. Michael Paynter’s humility is genuine and as he goes on to introduce tonight’s guest he talks about the tours history of having friends come and sing with him. Tonight, that friend is the incredible Em Rusciano who he tells the story of her friendship and their journey as friends and supporters. Rusciano is a hoot, her mix of humour and vocal talent is perfect for this show.

The genuine love and friendship between these two is evident and so sincere. The deal for his duet section is that his guest gets to pick a song and Paynter the other.

The next song isn’t just a dialled in track, Rusciano chose “Heaven Help My Heart” by Tina Arena and the dynamic between these two is jaw dropping. The performance, pure magic. Paynter’s choice is another Farnham classic written by Ross Wilson “A Touch Of Paradise” showcases both voices again. The harmonies from Rusciano are flawless. 

Switching back to keyboards Paynter takes on “Even When Im Sleeping “ by Leonardo’s Bride. Paynters ability to make these songs his while remaining so faithful to the original arrangements and structures is unlike anything I have experienced. These songs from this songbook come to life in the most amazing ways.

The next song was written by Graham Goble of the Little River Band and while it’s a Farnham sung song Paynter and reminds us that he is on Farnham rations, he tells us it’s his show and he can do what he wants in jest. The song is none other than “Playing To Win”. With his looping machine back and functioning the delivery is faultless. The way Paynter gives us the phrasing and power vocally is amazing and if you closed your eyes Australia’s original king of pop was in front of you.

The stories continue and the story behind the next song tells of how Paynter took the words of wisdom from the next artists lyrics, and it explained the way the female brain worked. The band is Batchelor Girl who Paynter played guitar with post covid. The song “Busses & Trains”, sung with absolute perfection. Paynter’s delivery of this song is so damn convincing, it’s written from the female perspective, tonight it had a whole new spin, and I brought these same lyrics from the male perspective. This isn’t something that is done easily and yet another testament to this man and his talent.

Explaining the production and the song and how production can complement or detract from each other Sia’s “Chandelier” is one of those songs that stripped back is such an incredible song aside from the elegance of its production. I never really cared for the song originally but stripped back this version had me backtracking almost immediately after the show. Stunning, stunning, stunning.

Closing out the set is Alex Lloyd’s “Amazing” another song of connection and message delivered with such a level of authenticity. “Amazing” is one of those songs that holds a close meaning to me personally and every emotion, thought and place this song signifies was in my mind’s eye immediately.

Without surprise Paynter received a standing ovation and a rowdy round of applause. This man is such a one in a lifetime talent and one that needs to be experienced. This format is the perfect showcase for this absolute diamond of a human. Tonight we got to see another side of this incredibly talented man who welcomed you into his world. Im sure the connection here was the same with everyone in the room.

With an ovation like that how could there not be an encore?  Paynter joked “it’s in the contract” as he took to the stage. Not one to disappoint tonight we were treated to a pair of songs that featured more of this countries finest talents. 

The first of these songs pays respect to Mike Chapman the iconic and legendary songwriter of global hits we all know and love. The possibilities are endless as to what we were about to hear. “Pleasure & Pain” by the Divinyls is the song of choice and stripped back to voice & keyboard takes on a new life and perspective. I’m captivated and pulled in hook line and sinker yet again.

The story of Michael’s meeting with Jimmy Barnes and the beginning of their friendship, how he became family. His gratitude to the Barnes family is immense and the stories need to be heard live.

“Flame Trees” is the song that closes the night out. It’s as iconic as any Australian song and while it’s possibly one of the most covered songs in Australian pubs it’s rare that you truly feel the emotion and story within the song this way. The honesty in this performance transported me to imagining Don Walkers vision for this song in its earliest form. Haunting and beautiful, not only do those words describe this song but the entirety of this performance.

Paynter’s banter and illuminated spirit welcomed us all and bring us into his world. While these aren’t his songs, they are songs that are a part of him, a part of all of us.

Michael Paynter you are such a talent, a superstar and most definitely one to watch as he enters the hearts, minds and souls of all Australians. Talent like this needs to be celebrated and shared. I have no doubt Michael Paynter will soon stand aside those he has paid tribute to tonight not as only a peer but an equal in importance and contribution to Australian music.

If by some chance you get to see any of these remaining shows DO it. If you can’t get to these shows Michael Paynter’s The Great Australian Songbook Vol.3 EP is out May 26. Melbourne, you have one more chance too on Friday May 29.

Setlist : We Are Australian, For The Working Class Man, Age Of Reason, Crazy, Straight Line, Joker & The Thief, Angels, Heaven Help My Heart, A Touch Of Paradise, Even When I’m Sleeping, Playing To Win, Busses & Trains, Chandelier, Amazing.
Encore : Pleasure & Pain, Flame Trees

With special thanks to Sue McAullay for the media access.

Gallery by Shot by Slaidins Photography

The post LIVE REVIEW: MICHAEL PAYNTER – The Great Australian Songbook 2026 appeared first on The Rockpit.

The season of the witch starts earlier this year.

The post Witch Club Satan Debut “The Kids Will Kill Us” Video Ahead Of Their First-Ever North American Tour appeared first on Theprp.com.

Mental Cruelty’s first time headlining Europe.

The post Mental Cruelty, Ov Sulfur, Extermination Dismemberment, Sun Eater, Etc. European/UK Tour Confirmed appeared first on Theprp.com.

You’ll be waiting a few moments yet.

The post In This Moment Tease Their New Single “Sleeping With The Enemy” appeared first on Theprp.com.