This weekend, Olivia Rodrigo is slated to pull a double duty on SNL to celebrate her upcoming record, you seem pretty sad for a girl so in love, which is out in June. In a promo yesterday, the singer parodied The Devil Wears Prada. In tonight’s, she kills SNL cast member Ashley Padilla.
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The post THE FRÄQS: New Noise Magazine Premieres âChainsawmanâ By Salem Noise/Indie Rock Hellions; Debut LP, No God On The Gold Coast, Nears May 29th Release appeared first on INFRARED MAGAZINE.
I wish my eyes were always closed
Broken world has lost its glow
No place to run no place to hide
Just emptiness deep inside
Cold Union’s new single Lost In Black sounds like two people staring down the end of the world with a drum machine, a bass, a guitar, and bruised romance. Julie and Charles Morose started the project after seeing Twin Tribes and Lebanon Hanover in Wrocław, which is exactly the sort of origin story that makes sense: one night, one gig, one shared infection, and suddenly the future has black eyeliner and an Icelandic windburn.
The duo began in Poland and later took shape in Iceland, where the stark glacial landscape seems to have frozen every soft edge out of the music. You can hear that cold space in the record: the vintage electronics sitting there like old hospital equipment, the guitar cutting in with a nervous little gleam, Julie’s bass keeping the body upright while everything else threatens to fall apart. It certainly brings to mind Lebanon Hanover, Qual, and Clan of Xymox, but Cold Union have enough private damage hidden beneath the floorboards to avoid sounding like a masquerade.
The title track is brutally plain about its misery. The song has that awful clean feeling of something made after too many sleepless mornings. The world is broken, the glow is gone, and the singer sounds stranded inside a life that has lost its colour chart. The black cars, black night, and blackened emotional weather are not goth decoration; they are inventory, the stuff left on the table after depression has cleaned out the room. They let the beat march, the bass brood, the synths shiver, and the voice carry the bad news without polishing it into pretty misery.
“We came up with the idea for Lost In Black shortly after releasing our first album, Deep In My Memory,” says the band. “During the writing process, we went through some of the hardest moments of our lives, and those experiences deeply shaped the music. In the end, it became what we believe is our strongest and most honest work to date.” They assert that this is their strongest track so far, with the biggest impact. “At times, I feel exactly as expressed in the song: lost in the colours of my life. The concept made such a strong impression on us that we decided to shape the entire album around this theme,” says Julie.
The video, edited by Charles Morose and Philip Merch, gives the song a hard black-and-white glare: the band framed against TV screens, night trees, and a kind of digital-era German Expressionism. Lost In Black is Cold Union turning private collapse into cold current.
Watch the video for Lost In Black below:
Listen to the title track from Lost In Black below and order the album here.
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Last year, British post-punks Squid released Cowards, which we named our Album Of The Week. Now, guitarist Anton Pearson is making his solo debut as an ambient artist. Driving Through Belgium is out in July, but the sprawling lead single “Tintinnabulation I” is here today. “I wanted to create a piece that sat somewhere between…
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The Minnesota Timberwolves are already down Anthony Edwards and Donte DiVincenzo. Now, they’ve lost two more.
The post Timberwolves Lose 2 Extra Players for Game 6 Following Edwards, DiVincenzo Injuries appeared first on Audio Ink Radio.
Melbourne rock outfit HZED have dropped their electric new single Say Watcha Want. Produced by Rusty Brown (of the legendary Electric Mary), the track is a masterclass in “short and punchy” rock and rol. To turn the heat up even further, HZED recruited Aussie rock icon Dave Leslie (The Baby Animals) to lend his signature […]
Interview by Kris Peters HZED is a powerhouse riff-driven rock band hailing from Melbourne, Australia, known for their high-octane energy and authentic, rock drenched sound. The band’s current lineup features vocalist Tenaye, guitarist Spruce, drummer Sam, and members Hannah and Piddo. Musically, HZED is defined by raw, “in-your-face” rock anthems. Their songwriting process often begins […]Last month, Olivia Rodrigo covered the Magnetic Fields’ “The Book Of Love” for the HELP(2) benefit compilation. Now, Stephin Merritt and Fleet Foxes’ Robin Pecknold performed the 69 Love Songs classic on the East Village Radio show Elia Vs.
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Recorded across intimate yet charged club settings in Los Angeles and London, Scorched Earth: Volume 2 Live in LA / London captures Philip Sayce in his natural habitat, on stage, plugged in, and fully unleashed. Backed by Sam Bolle on bass and Bryan Head on drums, Sayce makes no effort to dress things up beyond what’s necessary. The focus is on feel, interplay, and the kind of controlled chaos that only comes with years of arduous touring.
Sayce has long occupied an interesting space in modern blues rock. Born in Wales, raised in Canada, and now based in Los Angeles, he carries a bit of each of those influences in his playing. His style leans heavily on the tradition; you can hear echoes of Hendrix and the late-60s blues explosion, but it never sounds like imitation. Instead, there’s a rawness to his approach and a willingness to push things a little further, especially in a live setting.
That instinct is on full display from the opening moments of “One Foot in the Grave.” It’s a forceful, no-nonsense rocker, driven by sharp, aggressive guitar work that immediately establishes the album’s tone. “Once” follows with a more measured groove, leaning deeper into blues phrasing while still carrying that same intensity. Sayce lets the notes breathe a bit more here, but the fire never really dies down.
“Bitter Monday” pushes things forward again, another tightly wound performance where the band sounds completely in sync. Then comes “Peace Machine,” the album’s most expansive moment. At over nine minutes, it allows the trio to stretch out, building around extended, explosive guitar leads.
“Morning Star” keeps things grounded with a punchy approach, maintaining the album’s forward motion. There’s a clear sense of cohesion across these tracks, the kind that comes from a band sticking to what they do best. Still, there are moments where a slight shift in direction might have added an extra layer, even if the consistency itself is part of the appeal.
The closing take on “Spanish Castle Magic” leans heavier than its source material, trading some of the looseness of Hendrix’s original for a thicker, more muscular sound. It works as a closer, giving the album a final burst of energy while nodding to one of Sayce’s key influences.
The production doesn’t try to smooth things out too much, and that’s the right call. It captures the grit and immediacy of the performances, letting the rough edges be part of the experience.
Overall, Scorched Earth: Volume 2 Live in LA / London stands as a compelling live document, driven by palpable energy and tight-knit chemistry. It captures a band fully in sync, playing with confidence and instinct, resulting in a performance that remains engaging and consistent throughout.
The Review: 8/10
Can’t Miss Tracks
– One Foot in The Grave
– Once
– Bitter Monday
– Spanish Castle Magic
– Peace Machine
The Big Hit
– Peace Machine
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