Category: news

One voice has never been enough to define OVÁTE. From the beginning, the Norwegian black metal entity has treated each composition as a separate invocation, entrusting every track to a different vocalist while the instrumental core remains unchanged. After eight years of silence, OVÁTE will return with their second album, Rúin, on November 6, 2026 […]

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The veteran indie singer-songwriter Michael Nau, who you may know from Page France and Cotton Jones, is readying his latest solo LP. Popfly will be launched into the world in October, at the height of the baseball playoffs, which feels appropriate. Along with the announcement, he’s shared the title track, a lovely indie-folk lope that feels ideal for a relaxing morning despite the disconcerting lyrical refrain, “Something’s happened to my body.”

The post Michael Nau Announces New Album <em>Popfly</em>: Hear The Title Track appeared first on Stereogum.

“Let’s go to a metal show, let’s go to a rave. Why not both?”

The post The Browning Premiere New Track “OBSOLETE. DELETE. REPEAT.” appeared first on Theprp.com.

One forbidden glance is enough to destroy the possibility of reunion. In the myth of Orpheus and Eurydice, hope survives death itself, only to collapse at the moment doubt becomes stronger than trust. THE NIGHT ETERNAL revisit that tragedy in the official video for “Eurydice (Don’t Look Back),” the fourth single and current focus track […]

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William Basinski’s last full-length solo studio album was 2020’s Lamentations, though the renowned composer has released a lot of collaborative projects since. Today, he’s announcing a new solo piano LP titled Passing The Cup Of Sorrows. “Passing The Cup Of Sorrows 1.1” is out now.

The post William Basinski Announces New Album <em>Passing The Cup Of Sorrows</em>: Hear “Passing The Cup Of Sorrows 1.1” appeared first on Stereogum.

Soaked in blood and craving more, North Carolina’s melodic death metal masters Aether Realm have undergone a violent transformation, emerging with their ferocious new album Season of Bloodshed, to be unleashed December 11 via Napalm Records.

Since the band’s 2020 album Redneck Vikings From Hell, Aether Realm has held on by the skin of its teeth through a global pandemic, the historic Hurricane Helene, and a mid-record lineup change, with former guitarist Donny Burbage departing and new guitarist Chris Jones entering the fray. Season of Bloodshed clutches you in its blood-soaked claws and guides you on an intense exploration of an existential transformation fueled by rage.

About the album, the band states: “This is an album born from an anger that was allowed to fester for too long. At the confluence of the great injustices of our time and the insignificant wrongs that get under our skin every day, we can find ourselves transformed into our worst selves. It is in the expression of this feeling—through these cruel riffs, shredding solos, and crushing breakdowns—that we may find peace.”

From its first heartbeats, the album bares its teeth. The vampiric opening track “The Blood Is Calling” is layered with thunderous kick drums and cataclysmic string arrangements, setting the stage for something truly ghastly. Propelled by blast beats from drummer Tyler Gresham, ornate guitar harmonies, and Martin Gonzalez’s enveloping orchestrations, the first track is a herald of a new era as the band transforms into something darker. “Control” opens with a triumphant harmonized guitar duel before taking off at one hundred miles per hour, with virtuoso guitar duo Heinrich Arnold and Chris Jones weaving riff tapestries that embrace listeners in a dystopian dream of the future. Always looking to experiment with the form, “Broken Fist” enlists guest vocalist Taj Jewett to lend their rage to a track that fuses nu metal and prog into a showcase of infectiously bouncy grooves and unstoppable riffage.

The aptly titled “Get Fukt” is as vitriolic as the title suggests. Bassist and frontman Jake Jones delivers a venomous verbal onslaught alongside driving harmonized riffs clearly developed at the school of Bodom. “The Weight” offers the album’s first brief respite with serene synths paving the way for another hellish breakdown; tectonic drums crack the ground as flaming guitars emerge from the rubble and lash at the sky. Featuring the impeccable orchestration of composer Wayne Ingram (known for his work in Wilderun and on Assassin’s Creed Valhalla: Dawn of Ragnarok), the track expands into mesmerizing grandeur.

Opening with a serene folksy respite provided by departing guitarist Donny Burbage and violinist Sarah Stepanik, “Path of the Wind” emerges as an explosive blackened folk song with singalongs and blast beats that tells the tale of how the band emerged physically unscathed from Hurricane Helene. Further honoring their southern roots, “Achilles’ Heel” opens with intimate banjo strums dancing around vocalist Jake Jones‘ heartfelt croon, sung from the perspective of Patroclus, the companion of the titular mythological Greek hero Achilles. This bitter song honors the epic with guitar and string orchestrations of equally grand composition, coupled with a chorus that you can’t resist stomping your foot to.

Album closer “Terminus Omnium,” a Latin phrase translating roughly to “The End of All Things,” opens with cinematic, Game of Thrones-level pounding drums—courtesy of orchestrator and mix engineer Rob Carson—beating a cataclysmic opening for the record’s most expensive track. Enlisting the Western North Carolina Pagan Choir, there is a level of finality in the arrangement akin to an Elden Ring boss battle.

Despite the obstacles put in their path, Aether Realm emerges revitalized, determined, and simmering with anger while maintaining their trademark complex melodies and ferocious guitar attack.

Seasons Of Bloodshed is available to be pre-ordered here, in the following configurations:

• 1-CD Digipak
• 1-LP Gatefold (Black)
• 1-LP Gatefold (Splattered Red/Black)
• Digital Album

Aether Realm are:

Jake Jones / Bass and Vocals
Heinrich Arnold / Guitar
Tyler Gresham / Drums
Chris Jones / Guitar

The post Southern Melodeath Masters AETHER REALM Announce Incendiary New Album “Season Of Bloodshed” appeared first on Sonic Perspectives.

The central riff of “Slave New World” has lost none of its force. Rather than treating the Sepultura classic as a museum piece, NO GRAVE have dragged it directly into the modern hardcore pit. The Midwestern group’s newly released cover preserves the blunt rhythmic power of the Chaos A.D. original while increasing its aggression. The […]

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Only in Texas.

The post Upon A Burning Body Announce Their Annual ‘Everything Is Heavier In Texas Tour’ appeared first on Theprp.com.

Attention rock fans, this is your captain speaking.

For those with a memory longer than the lifetime of the average millennial, the 80s were a time when bands were still allowed to rock hard with zero apologies on the western side of the Atlantic. The hair was long, the songs were larger than life, and the only thing that could have killed the ongoing party was the inevitable hangover that would be the subsequent decade. But by the onset of the new millennium, cynicism and moroseness gave way to nostalgia for the good old days, and a new generation would take up the mantle of the original hard rock pantheon.

Due to its geographic location, word seemed to have reached the Australian continent a little later than the rest, but by 2001, an old-school powerhouse with all the energy and fire of the originals was being conceived on the coast of southwestern Victoria. Now 25 years and 6 studio LPs deep into their career, the four-piece Aussie rock machine known as Airbourne has taken their game into the proverbial stratosphere with an album so iconic that they had to name it after themselves.

Driven by the guitar chops and larger-than-life vocal presentation of helmsman Joel O’Keeffe, this heavy-hitting flight crew delivers the full-on classic rock experience in all its raucous glory. One can’t help but hear the influence of Australia’s originals AC/DC at nearly every point between the takeoff and landing, only with the lead guitar high-jinks of Angus Young and the vocal chops of both Bon Scott and Brian Johnson occurring in one person. But to be fair, there is a lot more going on alongside the heartfelt nods to Highway To Hell, Back In Black and The Razor’s Edge here.

Joel’s gravely shrieks often surpass the force factor that normally comes with a vintage 70s rock approach, drawing parallels to the likes of Blackie Lawless, Tom Keifer and even Lemmy Kilmister at times. Likewise, the massive gang choruses that often flank Joel’s gritty lead rival the arena-like bluster of late 80s Def Leppard, and the often busy riff work streaming out of O’Keeffe and rhythm guitarist Brett Tyrrell has a little more of a metallic kick to go with its mostly bluesy swagger, all the while sitting comfortably above a straightforward foundation built out of brother Ryan O’Keeffe’s kit work and Justin Street’s bass lines.

Though a band that makes a point of cutting to the chase, Airbourne manages to land this 747 of an opus with an artful exposition. The opening foray of up-tempo rocking fervor “Gutsy” starts with a well-placed and comparatively quiet lone guitar intro and builds up gradually to an explosion of defiant energy, culminating in the first of a non-stop succession of earworm bangers. Echoes of iconic staples like “You Shook Me All Night Long” and “Thunderstruck” are given a 2020s touch-up and a little extra bite on the mid-paced cooker “Here She Comes”, and one can’t help but hear a less-than-subtle hint of “Back In Black” oozing through the towering fanfare of “Sky High”.

Then again, the air of a quasi-tribute album becomes even more blatant with the fist-pumping anthem “Last Man Standing”, which could all but be chalked up as a shorter and heavier answer to “For Those About To Rock (We Salute You)”. Yet even when these mad Aussies wear their AC/DC influences on their shirtsleeves, there’s enough of an 80s shimmer and more aggressive flavor to the mix that it comes off fresh and original despite the overt familiarity.

Amid the highly straightforward approach that has been taken here, Airbourne isn’t beyond throwing the occasional curveball within their established strike zone. The compact, 80s glam-like punch of “Alive After Death (Last Plane Out)” sounds like a lost track from the glory days of W.A.S.P. with a tasty side order of Mötley Crüe sensibilities, with Joel’s vocal assault often sounding dangerously close to Black Lawless. The innuendo-rich and double-entendre-steeped hooks of “Kid In A Candy Store” and its holiday novelty sister track “Christmas Bonus” also lay on the 80s sonic tropes pretty thick, not to mention match the lyrical gimmickry with some playful musical touches like a partial quote of “Joy To The World” in the guitar solo of the latter.

The aggression factor gets kicked into what can be best described as a groovy second nod to “Back In Black” with a Judas Priest edge in “Bogata”, while “Hell’s Got No Vacancy” lands like a heavier answer to “If You Want Blood (You Got It)” and the mercilessly catchy “Who Put The Rhythm In You” listens like its own brilliant amalgam of AC/DC’s greatest hit with Bon Scott at the helm and reinterpreted through a mid-80s arena template.

It can’t be stressed enough that Airbourne is not merely a glorified tribute band reworking the old classics and presenting them with a shinier post-90s coat of paint, yet the best way to describe their sixth and eponymous studio album is as a full-on tribute to style and every preceding titan of the craft that laid its foundation. This is perfectly summed up in the closing song “Take Me To Rock ‘N’ Roll Heaven”, which stands as the most straightforward offering of the bunch, yet lyrically recalls the accomplishments and passing of prominent figures like John Bonham, Ozzy Osbourne, Malcolm Young, Bon Scott, Lemmy Kilmister, Eddie Van Halen and others in a song as ripe for rock radio as they come.

It’s a bittersweet reminder of the amazing accomplishments of the past, and also a call to arms to continue the legacy that has been laid by taking things a step further. In essence, that is what this album represents: a time-honored tradition that is being carried into the future, and it does so via a collection of songs so well polished and refined that the LP carrying them could be easily mistaken for a best-of compilation.

Release Date: August 28, 2026
Record Label: Spinefarm Records
Genre: Hard Rock

Musicians:

• Ryan O’Keeffe / Drums, Percussions
• Joel O’Keeffe / Vocals, Guitar
• Justin Street / Bass, Back Vocals
• Brett Tyrrell / Guitar

Airborne Tracklist:

1. Gutsy
2. Alive After Death (Last Plane Out)
3. Here She Comes
4. Kid in a Candy Store
5. Sky High
6. Who Put the Rhythm in You?
7. Christmas Bonus
8. Last Man Standing
9. Rock ‘N’ Roll Ya
10. Bogota
11. Hells Got No Vacancy
12. Send Me to Rock ‘N’ Roll Heaven

Order the album here.

The post AIRBOURNE – Airbourne (Album Review) appeared first on Sonic Perspectives.

Some dreams arrive surrounded by light. Others must be reached on black wings, carried through grief, fear and circumstances that make every step forward feel uncertain. That contradiction lies at the center of “Home of the Wind,” the second single from DIKAJEE’s forthcoming album, The Frame. The song features Vikram Shankar, known for his work […]

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