Underscores has been making waves this year, releasing the much-hyped album U and starting raves from the back of a U-Haul. Last night the up-and-coming hyperpop star called out the Houston venue Meow Wolf, saying they were limiting her production and being misogynistic.
The post Underscores Calls Out “Misogynistic” Houston Venue Meow Wolf For Limiting Her Production appeared first on Stereogum.
Except Elephant‘s Living In A Lie is a powerful and emotionally charged alternative rock offering that explores the weight of self-deception and the difficult journey toward personal truth. Driven by haunting vocals, dynamic instrumentation, and an increasingly intense atmosphere, the track transforms inner conflict into something both deeply personal and universally relatable. Its blend of alternative rock grit, indie sensibility, and melodic depth creates a compelling emotional arc that mirrors the struggle of breaking free from limiting beliefs and embracing change. Honest, cathartic, and strikingly vulnerable, Living In A Lie showcases Except Elephant’s ability to channel profound introspection into a memorable and impactful listening experience.
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Cam Blair‘s Perfect is a polished fusion of contemporary hip-hop, R&B, and melodic pop sensibilities, built around infectious hooks and confident storytelling. Balancing smooth vocal melodies with sharp lyricism, the track showcases an artist comfortable moving between emotional vulnerability and self-assured charisma. Rich production, memorable choruses, and a strong sense of momentum give Perfect an undeniable crossover appeal, while its heartfelt core keeps it grounded. Catchy yet authentic, the single feels like a defining statement from Cam Blair and a compelling showcase of his evolving artistry.
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Code Red is a Swedish AOR & Melodic Rock project led by song-writer and singer Ulrick Lönnqvist (Sahara) and guitarist Morgan Jensen (Swedish Erotica). The band’s only album release ‘Incendiary‘ (originally released via AOR Heaven in 2017) is now a genre classic of the 2010s and has since become a sought-after rarity. This new version […]
The post Pride & Joy Music To Re-Issue Code Red’s ‘Incendiary’ + 3 Bonus Tracks On July 17th appeared first on ROCKPOSER DOT COM.
Sophia Thomalla showed support for Alexander Zverev during the French Open with a simple but sweet message shared through social media.
The post Alexander Zverev’s Girlfriend Sophia Sends Subtle Message at French Open appeared first on Audio Ink Radio.
Though Ariana Grande just launched her new era with the petal lead single “hate that i made you love me,” she never brought her 2024 album eternal sunshine to stages. It’s been six and a half years since her last tour, during which Wicked took up most of her schedule. Last night in Oakland she made up for lost time with lots of live debuts.
The post Ariana Grande Kicks Off Eternal Sunshine Tour With Numerous Live Debuts appeared first on Stereogum.
juuku‘s i thought i lost you is an emotionally charged blend of UK garage, bass house, and melodic electronic songwriting that balances club-ready energy with genuine vulnerability. Driven by crisp rhythms, shimmering synth textures, and evocative vocal work, the track captures the rush of reconnecting with something—or someone—you feared was gone forever. Its polished production moves effortlessly between introspective moments and uplifting peaks, creating a dynamic listening experience that feels equally suited for late-night drives and packed dancefloors. With its infectious groove and heartfelt core, i thought i lost you showcases Juuku’s ability to fuse emotional storytelling with modern electronic precision.
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New Zealand’s Haast Hunter have released Plastique, the title track off their forthcoming debut album. The expected release date is not confirmed yet, but the band say to expect the full release around August 2026. Plastique is the first release from Haast Hunter featuring their new vocalist (Sinaea Elizabeth). The title track is an exploration […]
Perdomo Kravitz 2026 Penumbral confessions and other confectionary stories concocted by two tune-pursuing producers. There’s a lot of striking aspects in what ‘s been doing for over a decade now, including year-long album cycles and tireless playing on a myriad … Continue reading
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German black/thrash/heavy metal trio Witching Hour return for your soul, eight long years since their last outburst ...and Silent Grief Shadows the Passing Moon. Alongside contemporaries like Nocturnal, Cruel Force, and Manzer, Witching Hour’s recent output has been well-received by critics and audiences alike. This puts the upcoming Decending… Where Time Has Ceased to Exist, Witching Hour’s fourth release in 20 years, in a prime position to compete well in its field. Will Descent… lead to greatness or will Witching Hour fumble the landing?
In some ways, they’ve threatened both. Witching Hour are an incredibly talented bunch, deftly straddling fences between black metal char, heavy metal righteousness, and thrash metal vitriol. Descending…’s warm and natural tones enhance these qualities, presenting a product that is easy on the ear while deadly to the spine. Songs build around long-form structures, with the shortest cut measuring over six minutes (not counting the fluffy instrumental intro), but overall runtime slots in at a tight 43 minutes. This makes repeat listens easy to approach. Sounds like everything is in place to secure a high score on the board, right?
Unfortunately, the songwriting lets Descending… down. Witching Hour’s latest epic suffers the same flaw as its predecessor: a lack of compositional dynamics and an overabundance of recycled parts. Each song taken out of the whole makes a compelling case. “Where Time Has Ceased to Exist” sets the bar quite high for the rest of the record, churning with a heavy metal swagger and roaring with spirit through epic leads, scorching tremolos, and thrashy switch-ups. Similarly, “Profane Resurrection of a Presumed Dead” hooks its claws into the brain with an insidious chorus bark and fiery guitar and percussion work. However, when unified as a whole, it’s all too easy to interchange phrases and measures between songs without fragmenting the experience. I can place my mark on two opposite sides—and stick a couple more pins in the center—and the same riffing motif, similar leads and flourishes, suspiciously familiar vocal runs, and the exact same bass-snare alternation greet me.
Doubly damning, epic 11-minute closer “…and Then Came the Flames” showcases all of these issues in a microcosm, establishing a concise summary of everything heard thus far. And just like the others, taken out of the album context, the song rocks. Reminiscent of the same kind of grand, hellish adventure that Bütcher so gloriously captures on 666 Goats Carry My Chariot, “…and Then Came the Flames” feels complete, exciting, and wild, at least at first. As the track progresses, recycled parts and pieces cheapen the experience until I’m desperate to jump off the boat as it reaches shore. This mirrors my experience with the album as a whole. Fun and entertaining in the initial throes, it becomes a slog to get through in remarkably short order. By the time the closer wraps up, I’ve heard multiple iterations of the same ideas, spliced and arranged to deceive me into believing, if only for a moment, that I could pick any of these songs (minus the opener proper) out of a lineup without a cheat sheet.
Confounding as it is, Witching Hour represents a clash between having great ideas and writing songs that don’t adequately support or develop them. Instead, Descending… drops their best work into a sea of repetitive structures and monotonous bloat in the hopes that observers might then discern and appreciate them. With at least a half dozen spins under my belt at the time of writing, I did indeed find worthy gems to take home—and when isolated from the collection, those gems really sparkle. However, those rewards don’t quite justify the expanse of fluff and drag that bog Descending… down. In another world where Witching Hour invoked a greater variety of techniques, tempos, and textures to fortify their compositions and bring reliability to excitement, this record would’ve been a barnburner. As it is, it never truly catches fire, and leaves me wanting.
Rating: Disappointing…
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026
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