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Hanabie. are back with a new banger, set to be the opening theme for new anime ‘Young Ladies Don’t Play Fighting Games’.

Titled ‘Life Is Short, O Brave Girl’, it’s a breathless piece of glitter-speckled metalcore genius. Crossing boundaries with a fearlessness and ferocity, it jumps between kawaii exploration and rollicking heaviness with the flick of a wrist. It’s a story in its own right, which is what makes it perfect to be the soundtrack to something as vibrant as an anime.

It also manages to hit the heart of what said anime is about. According to a press release description, “Based on the popular manga series, Young Ladies Don’t Play Fighting Games follows Mitsuki Aya, a student at the prestigious Girls’ Academy who discovers her refined and idolised classmate is actually a hardcore, trash-talking fighting game enthusiast. Despite the academy’s strict ban on gaming, the two bond through their shared passion and begin a series of intense battles that spark both rivalry and friendship.”


Yukina from the band had this to say about putting it together:

“Since this is an anime theme song, I read the original work and immersed myself completely in its world while writing the song!

“For the lyrics, I included words that fans of Young Ladies Don’t Play Fighting Games will hopefully recognise and think, ‘Oh!’ when they hear them. I also reflected on my own youth, remembering the things our faculty advisor said to us when we were attending an all-girls school and passionately playing in a band while being obsessed with heavy music, as well as the rebellious spirit I felt during those days.

“I hope this song becomes one that overflows with energy for anyone who is passionately devoted to something!”

Sounds sick, right? Well have a listen and get excited.

The band kicked off 2026 with the release of a new EP titled ‘ICONIC’.

Here is the title track:

The post Hanabie. Share Thrilling New Track ‘Life Is Short, O Brave Girl’ appeared first on Rock Sound.

– July 8th, 2026 –

Available Today via Metal Blade Records – Listen / Watch / Share

Photo Credit: Sylwia Makris & Christian Martin Weiss

Iconic Swedish heavy metallers Amon Amarth approach a new way of songwriting on their first-ever acoustic excursion “Upphaf“. The song strips away the fury of modern melodic heavy metal to reveal the ancient, skeletal frame of a Norse epic. Reimagined for the gathering space of a longhouse hearth, the song features hypnotic melodies and mesmerising quires. The stripped-back composition carries the solemnity of an oral history whispered under the shadow of the Allfather, proving the band’s interest in Oden cuts just as deep by firelight as it does on epic global stages. The single serves as the quiet moment to what lies ahead, before the fury of their next studio album.

“Upphaf” was produced by Jacob Hansen and is available via Metal Blade Records across all digital retail alongside its video directed by Pavel Trebukhin.

Listen / Share / Playlist “Upphaf” HERE

“Upphaf” Single Artwork

Watch Official Music Video HERE

From Amon Amarth‘s 1992 formation in Tumba, Sweden, to the worldwide fame they’ve found in the ensuing years, their lyrical, live and recorded musical legacy speaks for itself. Over the past few years the band have performed globally and alongside legendary acts such as Slayer, Guns N’ Roses, Foo Fighters, Pantera in addition to monumental sold out takeovers of Los Angeles’ The Forum and Denver’s historic Red Rocks Amphitheatre to name a few. Across seas, Amon Amarth have headlined multiple major rock and metal fests including an epic performance at Germany’s Wacken in 2024 for 85,000 rabid fans which was deemed “a 19-song masterclass in unbeatable, indefatigable force…a repertoire of songs that can conquer the biggest crowds on the planet,” by Louder. Elsewhere on UK/European soil, the Viking lords have twice headlined the UK’s storied Bloodstock festival, made four appearances at Download (2008 – 2019), and performed at Summer Breeze eight times (2003 – 2024) – six of them as headliner.

Their rapidly increasing sales and touring numbers, plus pre-release buzz to Amon Amarth‘s 2026 North American tour with Dethklok and Castle Rat, has managed to garner mainstream success without sacrificing either of their constantly evolving creativity or heaviness. Audience demographics run the gamut from pre-teens to 60-somethings, an inclusive metal experience for those who appreciate epic positivity and powerfully inspirational lyrics.

Amon Amarth continues to garner universal musical respect and reverence from fans and critics, and an ever-growing popularity in North America. In Europe, Amon Amarth reached #1 on German album charts with Jomsviking, Berserker, and 2022′s The Great Heathen Army also topped the US Billboard Hard Rock Albums chart, the Canadian Billboard Top Current Albums chart, and earned a Swedish Grammy nomination for hard rock/metal album of the year.

Their cultural influence cannot be overstated. To wit: The Row. The consensus is that the legendary “Viking row” by audience members first began during the 2009 Amon Amarth set at Bloodstock. Fans get on the ground and, in unison, imitate rowing an invisible longship in a powerfully unifying experience. With the 2022 release of the single and video “Put Your Back into the Oar,” frontman Johann Hegg said, “we thought it was a good idea to write a song about The Row! This one is for you, the fans, wherever you are-and may Oden guide you as you row to your destiny in uncharted seas!” The phenomenon has now spread to other artist’s’ concerts and global events including 2026 World Cup audiences – but thanks to video footage, it’s safe to say Amon Amarth audiences began the now-iconic trend.

Over 30 years later, Amon Amarth remains a band of brothers, and that loyalty and unity allow for harmony and a united front that conquers both the stage and record. Hegg’s powerfully rendered lyrics on last year’s “We Rule The Waves” sum up the band’s unrelenting intent. “From cradle until the grave / As long as the sun sets in the west / We rule the waves / Our restless hearts / Have brought us far / As far as Vinland’s shores / We’ve gone further / Than any man has ever gone before.”

Amon Amarth Lineup:
Johan Hegg – Vocals
Olavi Mikkonen – Guitar
Johan Söderberg – Guitar
Ted Lundström – Bass
Jocke Wallgren – Drums

Amon Amarth Live Dates:
UK:
Oct 09: England – Manchester, O2 Apollo
Oct 10: England – London, Eventim Apollo
Oct 11: England – Wolverhampton, Civic Hall
EU:
Oct 13: France – Paris, Zenith
Oct 14: Luxembourg – Esch sur Alzette, Rockhal
Oct 16: Germany – Stuttgart, Schleyer-Halle
Oct 17: Germany – Frankfurt, Festhalle
Oct 18: Belgium – Antwerp, Lotto Hall
Oct 20: Netherlands – Den Bosch, Mainstage
Oct 21: Germany – Hamburg, Sporthalle
Oct 23: Sweden – Gothenburg, Scandinavium
Oct 24: Sweden – Stockholm, Hovet
Oct 26: Finland – Helsinki, Ice Hall
Oct 27: Estonia – Tallin, Unibet Arena
Oct 29: Poland – Gliwice, PreZero Arena Gliwice
Oct 30: Germany – Leipzig, Quarterback Immobilien Arena
Oct 31: Germany – Oberhausen, Rudolf Weber Arena
Nov 02: Hungary – Budapest, Barba Negra
Nov 03: Austria – Vienna, Gasometer
Nov 04: Germany – Bamberg, Brose Arena
Nov 06: Czech Republic – Prague, O2 Universum
Nov 07: Germany – Berlin, Velodrom
Nov 08: Germany – Munich, Zenith
Nov 10: Italy – Milan, Alcatraz
Nov 11: Switzerland – Zurich, The Hall
Nov 13: Spain – Barcelona, Sant Jordi Club
Nov 14: Spain – Madrid, Vistalegre
Nov 15: Portugal – Lisbon, Sala Tejo

Amon Amarth | Instagram | TikTok | Facebook | X | YouTube

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Their first record on BLKIIBLK.

The post To The Grave’s New Album “LIBERATION FRONT” Due In October, “NAIL MARY” Video Debuts appeared first on Theprp.com.

The Title Fight reunion already happened, and you missed it. Title Fight, the Pennsylvania post-hardcore greats, played their last show in 2018. They never announced a breakup or a hiatus, but they’ve also ignored the louder and louder calls to get back together and play some more shows. In the eight years since Title Fight went away, their legend has grown to absurd proportions. They do huge streaming numbers, and bands like Haywire get crazy reactions when they cover Title Fight. Just last week, the metalcore band Static Dress briefly faked out the crowd by teasing a Title Fight reunion at Manchester’s Outbreak Fest. A few days later, the real Title Fight played a little quasi-reunion across the ocean, with nobody but friends and family in attendance.

The post Title Fight Reunite (For Acoustic Wedding Performance) appeared first on Stereogum.

The “Golden Era” of blues rock began with the release of albums like the Paul Butterfield Blues Band’s eponymous debut in 1965 and John Mayall’s Blues Breakers with Eric Clapton, and lasted for about ten years. It emerged as a fiery fusion born from a head-on collision between raw Delta and Chicago blues and the amplification and energetic intensity of rock & roll. Young people in both Great Britain and the United States discovered the rich legacy of American Black blues music that had largely been shunned by white society, with only a few exceptions, up to that point.

Artists like Robert Johnson, Muddy Waters, and Howlin’ Wolf were emulated and, in many cases, exposed to a wider, racially diverse audience. These blues legends reached new listeners by serving as opening acts for the young blues rock musicians who were finding success with thunderous, riff-driven covers of their songs infused with psychedelic swagger and extended jams. The following ten tracks capture the genre at its rawest during its formative years, ranging from incendiary performances to brooding, atmospheric masterpieces that continue to influence every generation.

The Allman Brothers Band – “Statesboro Blues” (Live)

“Statesboro Blues” was written and recorded in 1928 by Blind Willie McTell in the Piedmont blues style. In 1968, it was recorded by Taj Mahal, whose version inspired the Allman Brothers Band to transform it into an electrifying showcase of raw power and instrumental mastery. Rolling Stone ranked the song No. 9 on its list of the “100 Greatest Guitar Songs of All Time.” The Allman Brothers Band infused the song with their signature blend of blues, rock, and improvisational fire. The band’s performance on October 15, 1971, at Pittsburgh’s Syria Mosque captures the group at its peak intensity, just weeks before Duane Allman’s fatal motorcycle accident.

Butterfield Blues Band – “East-West” 

The Paul Butterfield Blues Band recorded and released their second album, East-West, in 1966. The title track, which runs more than thirteen minutes, fuses the raw fire of Chicago blues with an improvisational jazz style. The dazzling guitar interplay between Michael Bloomfield and Elvin Bishop is hypnotic as they follow Paul Butterfield’s powerful harmonica work. Eastern raga influences combined with psychedelic acid rock create a driving groove with mind-expanding solos. It stands as one of the most transformative tracks of the blues rock Golden Era.

Cream – “Crossroads”

“Crossroads” was originally written and recorded by Robert Johnson “in a hotel room in San Antonio in 1936.” Cream recorded it live on March 10, 1968, at Winterland in San Francisco as an embodiment of blues rock’s explosive potential. It was included on their third album, Wheels of Fire, released in 1968 as the band was in the process of breaking up. The combination of Robert Johnson’s haunting song and the mythology surrounding it was amplified and electrified by Cream’s power-trio chemistry and the band’s blistering interpretation.

Fleetwood Mac – “Albatross” 

Peter Green is credited with writing “Albatross,” but its influences can be traced back to the swing band era. Andy Kirk and His 12 Clouds of Joy released “Floyd’s Guitar Blues” in 1939, which contained an ethereal guitar interlude. In 1957, Chuck Berry released “Deep Feeling,” and in 1959, Santo & Johnny released “Sleep Walk,” both of which featured a similarly ethereal, almost ambient sound. The song later appeared on the Fleetwood Mac compilation albums English Rose in 1968 and The Pious Bird of Good Omen in 1969. It is a hypnotic, guitar-driven track that topped the UK charts, becoming the band’s only No. 1 hit and a defining moment that documented the band’s seminal roots.

Foghat – “Slow Ride”

Foghat’s genesis came in 1971 when Lonesome Dave Peverett, Tony Stevens, and Roger Earl left Savoy Brown to form the band. They released their self-titled debut album in 1972, but it was their fifth album, Fool for the City, released in 1975, that produced their biggest hit. “Slow Ride” was written by Dave Peverett and was the lead track from the album. The original album version runs more than eight minutes, but it was shortened to just over three minutes for the single and many compilation albums. Live versions have stretched beyond fourteen minutes. It’s a high-octane anthem that epitomizes the good-time, boogie-driven spirit of 1970s blues rock with its extended jam and relentless groove.

Jimi Hendrix – “Red House”

“Red House” first appeared on the British edition of Jimi Hendrix’s debut album, Are You Experienced, released in 1967. Hendrix wrote the song before forming the Experience as a conventional twelve-bar blues that pays homage to and connects with the traditional blues performed by masters like Muddy Waters, Albert King, and Elmore James. The lyrics explore heartbreak and longing, while Noel Redding’s bass and Mitch Mitchell’s driving drums provide the song’s powerful groove. The real magic lies in Hendrix’s guitar, which delivers expressive, vocal-like solos packed with bends, glissandos, and emotive phrasing that transform a conventional blues structure into something transcendent. Jimi Hendrix’s performance of “Red House” in Stockholm in 1969 is a prime example of his extraordinary talent, showcasing his nuanced tone, articulation, and phrasing.

Led Zeppelin – “Dazed and Confused”

“Dazed and Confused” was originally written and recorded by folk singer Jake Holmes in 1967. Jimmy Page heard the song while he was with the Yardbirds and reimagined it as a raw, electrifying blues rock song that was included on Led Zeppelin’s eponymous debut album, released in 1969. The song opens with John Paul Jones’ steady, menacing bass line, leading into Robert Plant’s raw, passionate, blues-infused vocals. Jimmy Page’s masterful guitar work and John Bonham’s thunderous, propulsive drumming complete the alchemy. It remains one of the defining anthems of blues rock, and Led Zeppelin’s live performance of “Dazed and Confused” at Royal Albert Hall on January 9, 1970, attests to that.

John Mayall & the Bluesbreakers (with Eric Clapton) – “All Your Love (I Miss Loving)”

Chicago blues guitarist Otis Rush wrote and recorded “All Your Love (I Miss Loving You)” in 1958. John Mayall & the Bluesbreakers, featuring Eric Clapton on guitar, recorded the song in 1966 for the group’s debut album, Blues Breakers with Eric Clapton. It became a cornerstone of the British blues boom by delivering pure, electrified Chicago blues fire that helped ignite the Golden Era of blues rock. The track showcases John Mayall’s steady, heartfelt vocals and harmonica playing while introducing the legendary prowess of Eric Clapton’s guitar work.

The Rolling Stones – “Gimme Shelter”

The Rolling Stones released Beggars Banquet in 1968, followed by Let It Bleed in 1969, which opens with “Gimme Shelter.” It is a dark, apocalyptic masterpiece that captures the turbulence of the late 1960s. When the Rolling Stones staged a free concert at the Altamont Speedway in December 1969, it was promoted as another Woodstock and featured half a dozen other acts. Security for the concert was provided by the Hells Angels Motorcycle Club, whose members stabbed and beat to death a concertgoer who was brandishing a gun. A total of four people died, and the concert became symbolic of the end of the hippie counterculture’s vision of utopia. “Gimme Shelter” became the anthem for the closing chapter of the turmoil that defined the 1960s.

Savoy Brown – “Louisiana Blues”

Kim Simmonds and Savoy Brown recorded their third album, Blue Matter, in 1968 and released it in 1969. One of the most recognizable blues standards on the album is a live recording of “Louisiana Blues,” which is credited to McKinley Morganfield, better known as Muddy Waters, who recorded and released the song in 1950. Waters acknowledged Hambone Willie Newbern, who recorded the original version in 1929, as a key influence on the song. Savoy Brown’s rendition is an extended, high-energy, nine-minute boogie driven by Chris Youlden’s soulful vocals and Kim Simmonds’ stinging guitar work.

These 10 tracks are only the tip of the iceberg and represent the explosive heart of blues rock’s Golden Era, capturing the raw fusion of Delta and Chicago blues traditions. From the slide-drenched fire of the Allman Brothers Band to the relentless groove of Foghat, with the transcendent guitar alchemy of Hendrix and Clapton thrown in for good measure, the genre amplified the urgency, emotion, and improvisational freedom of rock & roll. The Golden Era of blues rock remains the benchmark for authenticity, intensity, and soul in the genre.

The post 10 Songs That Defined Blues Rock’s Golden Era (1960s-1970s)    appeared first on Blues Rock Review.

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