With the first two dates of their tour happening next weekend, Big Noter has unveiled a new single from the album Songs in the Key of Wrestling.
Featuring Briggs teaming up with Joe Talbot from IDLES, their self-titled track delivers a deliberate hardcore punch to their sound.
Songs in the Key of Wrestling is out on September 18. The band plays Sydney and Melbourne next weekend.
It’s taken them seven years, but Melbourne emo rockers The Beautiful Monument release their new album today.
Euphoric Thriller is the third full-length from the band, capturing their recent string of singles and more under the guiding hand of Windwaker producer Chris Lalic.
“The album deals with the grief of not only physical loss”, says singer Lizi McIntosh, “but the emotional battle that is existing in this world as a minority and navigating our way through the uphill battle of hate and bigotry from the society that surrounds us… but make it a party.”
The Beautiful Monument are on tour with Chiodos in November
Euphoric Thriller is out now across all platforms.
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More than six decades after “Come And Get These Memories” became her first chart success, Martha Reeves has a chance to score another one. It’s hard to believe, but the rhythm-and-blues legend has only five solo albums to her name, … Continue reading
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Eleven chapters. One descent. A concept album where every song becomes another step into an infernal world.
New York-based heavy/thrash metal project Quemasantos has unveiled the complete details surrounding its forthcoming second full-length album, Stranded In Hell, an ambitious concept record scheduled for release on October 9, 2026, through Digmetalworld & MVD Entertainment Group.
Conceived as an eleven-chapter journey, Stranded In Hell follows a protagonist descending through an infernal realm where fear, temptation, justice, isolation, and survival become interconnected parts of the same story.
Rather than presenting a collection of unrelated songs, the album unfolds as a continuous narrative in which every chapter reveals another layer of an unforgiving world. Musically, Stranded In Hell remains rooted in classic heavy and thrash metal, while embracing cinematic atmospheres and dynamic arrangements that give each composition its own identity.
For Ignacio Orellana, the album also represents an important personal milestone. Known primarily as a drummer throughout his musical career, Stranded In Hell marks the first time he steps forward as the band’s bassist while also composing, producing, recording, mixing, and mastering the entire album.
“I’ve been a drummer since I was fourteen, but I’ve always wanted to play bass and develop my own musical ideas. This album became the opportunity to finally do that. The music wasn’t written to fit a genre or follow trends; it simply reflects the records I’ve listened to throughout my life and everything I was experiencing while writing it.”
Lyrically, the album was developed by longtime collaborator Nelson Díaz, whose storytelling transforms each composition into another chapter of the album’s descent through Hell. The only exception is “Burning The Black,” written by Orellana as a deeply personal reflection inspired by the illness and passing of his wife, Ximena Muñoz.
Adding another layer to the project, each song features a guest guitarist from across the international metal community, bringing together musicians from Chile, the United States, Brazil, and Colombia.
Track Listing:
The album was recorded at Oily Sound Studios (New York, USA), with vocal sessions taking place at Estudios Ultrasónico and Estudios Attic in Chile.
For collectors, Stranded In Hell will be available as limited deluxe digipak CDs, with vinyl editions also available through Digmetalworld.
Release Schedule:
The descent begins September 1.
Listening Party at Bandcamp
More info:
http://instagram.com/quemasantos1
https://www.facebook.com/quemasantos
Source: ASHER MEDIA RELATIONS
The channel will be dedicated to content from this 1980s punk rock band.
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So many things to learn, so many to unlearn
To be in company and to be alone
So many things I thought I cannot live without
Now are disappearing, now are dissolving like clouds
Boris Kaplunovich has spent much of his life moving between places that might reasonably be called home. Born in Belarus, raised in Israel, and now based in Berlin, the musician from Tottenwald and Day Clinic approaches his new solo project with the accumulated perspective of someone accustomed to departures, reinvention, and the strange persistence of attachment. Tall Grass, his latest single, turns those experiences toward something intimate: the possibility that certain people find one another despite geography, history, and timing conspiring against them.
Released July 25th as the first single from an EP expected this autumn, Tall Grass began with Kaplunovich lying in an unruly patch of grass in the middle of a city park. The setting provides central tension: a pocket of accidental wilderness surrounded by streets, buildings, appointments, and all the machinery by which urban life keeps time. Kaplunovich considers love from a similar position, contemplating encounters that seem improbable until, in retrospect, they acquire the peculiar logic of inevitability.
The lyrics move between learning and unlearning, solitude and companionship, loss and recurrence. Possessions and old certainties dissolve, while affection survives through smaller gestures: sharing rain, lying together in tall grass, accepting mistakes that may return. At its center sits the consoling thought that two lives might repeatedly find each other, regardless of when history happened to place them on the earth.
An acoustic guitar establishes the song’s modest frame before the arrangement gradually opens around it. Electronic tones enter with care, and the post-punk influence comes through in the use of space, repetition, and an occasional chill in the instrumentation. Kaplunovich sings with the plainspoken intimacy of a musician who understands how much weight understatement can carry. His phrasing leaves room around individual words, giving the performance the feeling of thoughts still taking shape as they are spoken.
Gratitude runs through Tall Grass, complicated by an awareness that permanence is largely wishful thinking. People meet, circumstances change, cities absorb their inhabitants, and affection becomes inseparable from the knowledge that every shared moment belongs to a finite sequence. Kaplunovich finds tenderness within that recognition without turning it into easy consolation.
Robert Hanna’s black-and-white video places Kaplunovich among neglected corners of the city: empty lots, worn concrete, industrial remnants, and abandoned spaces whose original purposes have become difficult to determine. He carries his guitar through these locations as a solitary troubadour, while Hanna finds striking geometry in broken walls, open ground, and severe urban surfaces. The photography gives Kaplunovich’s isolation a cinematic scale while preserving the song’s close, personal character.
Watch the video for Tall Grass below:
Following last October’s debut single, Be Them All, and years spent sharing stages with artists including Micah P. Hinson and Matt Elliott, Tall Grass brings Kaplunovich’s solo direction into sharper focus. His subject is belonging, understood here as a temporary alignment of people, place, and time. For a few minutes, lying together in the grass is enough.
Listen to Tall Grass below and order the single here.
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The song opens with a beautiful piano riff that creates an almost pastoral atmosphere. This initial sound is soon enriched by the vocal line, showcasing the artist’s unique vision. The vocals are filled with embellishments, adding a theatrical quality that makes the melody highly memorable. The song develops coherently, building up a groove that makes you tap your foot in time with the beat. It unfolds like a suspended mirage, presenting a kaleidoscopic experience that envelops and mesmerizes listeners with its intense and unique vision.
In the chorus, pads are introduced, expanding the sonic landscape of the track. This addition elevates the song, making you feel as if you are soaring through a mystical space. There are hints of the 1980s in the production, yet the overall sound remains futuristic. The merge of classic and modern elements creates a rich listening experience. The final section features a guitar solo that enhances the song’s epic quality, leaving an indelible mark.
The arrangement is meticulously structured. Herbie the Rabbit’s attention to detail is evident, as every note feels purposefully placed. The combination of instruments creates layers that catch your attention. Rhythmically, the beat maintains an enjoyable pulse, inviting movement. Each element works in harmony, allowing the vocals to shine brightly.
The blend of electronic and organic sounds fosters a unique identity for the track. The instrumentation is skillfully balanced, creating a full-bodied sound. Herbie’s vocal delivery complements the music perfectly, imbuing the track with a sense of urgency.
The chorus stands out as a highlight. The combination of the enhanced pads and Herbie’s emotive singing propels the track into a euphoric realm. This section invites listeners into an engaging auditory journey. The hooks embedded in the chorus are catchy enough to linger in your mind long after the song ends.
As the song nears its conclusion, the guitar solo takes center stage. This moment is electrifying and emotive, standing out amidst the rich production. It serves as a climactic peak, reinforcing the epic nature of the track. The combination of instrumentals signals the artist’s commitment to their craft.
In “Burn The Witch,” Herbie the Rabbit demonstrates a vision that is bold and original. Each sonic layer contributes to a cohesive whole, resulting in an expansive listening experience. From the initial piano lines to the soaring vocals and epic guitar solo, every moment is thoughtfully designed. This track is a remarkable showcase of what can be achieved when creativity meets technical skill.
Listeners of various backgrounds will undoubtedly find something to appreciate in this song. The fusion of influences offers a refreshing sound that stands out in today’s music landscape. As you engage with the track, the rhythmic grooves invite you to move, creating an irresistible urge to dance.
Overall, “Burn The Witch” is an impressive work that highlights Herbie the Rabbit’s artistic capability. It is a track that not only entertains but also feels like an experience worth sharing. Each listen unveils new details, encouraging repeated engagements.
Unique
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31st July 2025
Photos: Tom Atkin
We look back at the epic Voyager show through the eyes of our photographer Martin Hingley!
Photo credits: Tom Atkin
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31st July 2026
Words & Photos: Tom Atkin
Tonight sees a great return to London, Australian Prog rockers Voyager are giving us an “evening with” experience. This after what has been a not so great few years for the band, it is incredibly heart warming to see them back on the stage again in front of a room full of people that have definitely missed them.
Before the band take the stage, we get a ten minute countdown on the screen whilst years of photographs are displayed, a nice personal touch to connect the band with the audience. When the countdown hits 0, Jerry Ewing (Editor of Prog Magazine) takes to the stage to share his proudness of the band recounting how happy he was to see them representing at the Eurovision Song Contest.
Jerry leaves the stage and slowly, one by one, Voyager come out, before launching into ‘Prince of Fire’, a song that feels like it encapsulates Voyager in a perfect way. As soon as the song fully kicks in, the energy level picks up to match the volume, an energy that carries on through out ‘Colours’ and ‘You the Shallow’. Danny Estrin spends equal time smiling at the crowd as he does singing. Everything about the performance shows just how much they are enjoying being back on stage again. They are just out here having a blast, that doesn’t mean they aren’t taking it seriously either. Their performance sounds incredibly tight.
For a band that have not been able to tour much in recent years, their performance sounds like they have never been away. ‘Dreamer’ is a crowd favourite, with the chorus being sung back at them throughout. This is before Voyager’s sense of humour rears its head. ‘Hyperventilating’ brings a karaoke style finish to the song, however the lyrics that the crowd sings are “This song is captivating” and “I can’t stop masterbating”. Not going to lie, that was a bit of an odd moment, however this is Voyager and they are having fun and the crowd are more than happy to join in.
The set then moves through ‘The Lamenting’, ‘Seen Better Days’ and ‘Ultraviolet’, showing just how easily Voyager can move between heavier sections and the huge melodic choruses that have become such a big part of their sound. ‘To the Riverside’ gives the evening a slightly different feel before ‘Ghost Mile’ brings another big response from the room. This is followed by the first reading from Voyager: The Brightest Stars, a mock children’s book that somehow gets more bizarre as it goes on.
Musically, there is very little to fault throughout the evening. Simone Dow and Scott Kay are incredibly sharp on guitar, Alex Canion brings plenty of movement and personality to the stage, while Ash Doodkorte keeps everything locked together from behind the kit. At the centre of it all Danny switches between keyboards and vocals while constantly interacting with the crowd. There always seems to be something happening, but it never takes away from the songs themselves.
‘To the Morning Light’ is followed by an older favourite in ‘Everwaiting’, which earns another huge reaction before the next chapter of the children’s book is revealed. ‘I Am the Revolution’ and ‘The Meaning of I’ give longtime fans plenty to enjoy, while the important bald community announcement that follows once again proves that Voyager will take almost any opportunity to make themselves laugh.
The closing section is where the crowd really seems to find another level. ‘Promise’ is met with an enormous singalong, with the Eurovision favourite sounding even bigger inside this room. ‘Gren (Fearless in Love)’ follows before ‘Ascension’ brings the main set to an emotional close. The band leave the stage, although nobody in the venue appears ready to go home just yet.
Voyager soon return for one final song, closing the evening with ‘White Shadow’. It is a fitting end to a show that has mixed incredible musicians, with plenty of humour and a real feeling of connection between the band and their fans.
This show felt very much about the band being welcomed back to the stage after a long time away and by God did they deliver on their return. Hopefully with the constantly improving health of Danny Estrin we won’t have to wait so long for them to return to our shores.
Photo credits: Tom Atkin
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