Metallica singer James Hetfield has announced some wonderful personal news, and he’s sharing it with the world.
The post Metallica Singer James Hetfield Announces Personal News appeared first on Audio Ink Radio.
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Anna Calvi – “Is This All There Is?” (Feat. Matt Berninger)
Later this week, the UK powerhouse Anna Calvi will release Is This All There Is?, a new EP of duets. We’ve already heard her cover Bonnie “Prince” Billy’s “I See A Darkness” with Perfume Genius, and we’ve posted her Iggy Pop collab “God’s Lonely Man.” There’s a song with Laurie Anderson on there, too. Today,…
The post Anna Calvi – “Is This All There Is?” (Feat. Matt Berninger) appeared first on Stereogum.
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HAYDEN McGOOGAN: ‘Relapse’
Success carries its own kind of fear, a subtle unease that whispers it could all disappear in a heartbeat. On Relapse, Hayden McGoogan captures that fragile space with striking clarity. Musically, the track resists drama. Despite McGoogan and his instrumentalists coming from different sonic backgrounds, the track deliberately holds back. The tempo is restrained, almost […] -
First Blood’s 2002 Demo Now Available on Streaming Services
Hooray for a Throwback Thursday… especially when it comes on a Monday. Back in the days of 2000’s hardcore, First Blood was really that beatdown bitch, representing California in quite a badass way. They haven’t released new music since 2017’s Rules, though what we’re here to talk about today goes back even further than that. Specifically, we’re going all the way back to the very innocent time of 2002, when First Blood released their demo. It’s now available on streaming platforms, so in the likely case you don’t have that original scratched up CD, you can go give it a listen now on Spotify, Apple Music, or whatever the hell else you might use.
Falling under just 17 minutes across five songs, First Blood’s demo is a relic of hardcore time, showing how raw and fierce the genre was back in the day. Just give it a listen for yourself. It’s not like it’ll take you very long.
Another bit of good news for First Blood fans—at least, the ones that live in New Jersey—as the band will be playing at Hellfest New Jersey, which takes place July 3–5 at The Dome at Adventure Crossing in Jackson, NJ. They’ll be celebrating 20 years of their first full-length release, 2006’s Killafornia, so you know it’s gonna e a good time.
The post First Blood’s 2002 Demo Now Available on Streaming Services appeared first on MetalSucks.
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Classic Rock’s Tracks Of The Week: March 16, 2026
Eight songs you need to hear right now, from The Lemon Twigs, Devon Townsend, All Them Witches and more -
Love Alone is Carel Brouwers’ Single Out Now
Good Day Noir Family,
A mysterious bell-like tone opens Carel Brouwers’ “Love Alone,” and within seconds the listener drifts into another era.Love Alone is Carel Brouwers’ Single Out Now
The texture feels distant, suspended in time. Then the voice enters, wrapped in reverb, carrying a fragile yet steady presence that lingers in the air. It doesn’t rush. It hovers.
This track refuses to sit in nostalgia alone. There’s an alternative western pulse beneath the surface, subtle but steady. The rhythm moves with a slightly syncopated pattern, giving the song a gentle sway rather than a straight march. The atmosphere feels cinematic, like a mirage rising from desert heat.
Certain melodic passages recall Simon and Garfunkel in their reflective moments. In other sections, a faint Bowie spirit appears, especially in the way the vocal line stretches across the arrangement with quiet drama. Brouwers filters those influences through his own artistic lens.
The arrangement grows carefully. Additional colors enter, expanding the harmonic field without overwhelming the intimacy. The instrumentation enriches the song’s texture, yet the core remains minimal and focused. This balance gives “Love Alone” a refined quality reminiscent of classic tunes from another era.
In addition, the melody carries a hypnotic quality. It seems suspended in a parallel dimension, gently guiding the listener deeper into its emotional terrain. There’s something almost mythological in its portrayal of love. The theme unfolds like an ancient tale retold under modern light.
Brouwers demonstrates a clear artistic vision. He blends alternative western tones with timeless melodic craftsmanship. The result feels rooted and transcendent.
“Love Alone” doesn’t shout. It whispers with conviction. It invites reflection rather than spectacle. Carel Brouwers delivers a single that resonates quietly yet powerfully, revealing depth through restraint.
Love Alone is Carel Brouwers‘ Single Out Now!
Mythic!
Love Alone is Carel Brouwers’ Single Out Now Carel Brouwers is a Dutch singer-songwriter who blends indie art pop with cinematic atmosphere and narrative songwriting. Inspired by composers and artists ranging from David Bowie to Ennio Morricone, Sergei Rachmaninov, and Wolfgang Amadeus Mozart, his music often favors layering, tension, and mood over traditional pop structures. His recent work is part of a conceptual project that explores mythological figures like Zeus and Aphrodite as metaphors for modern emotional life, pairing reflective lyrics with vintage-inspired production.
Find Carel Brouwers Here:
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The post Love Alone is Carel Brouwers’ Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.
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Judy Collins Announces Farewell Tour Dates for 2026 and 2027
The tour begins on Independence Day. Continue reading… -
Album Review: Gutvoid – Liminal Shrines
Album Review: Gutvoid – Liminal Shrines
Reviewed by Sam Jones
Often there are bands you’re somewhat familiar morose to check out at a future date, that band for me is Canada’s Gutvoid and with their upcoming release, Liminal Shrines, it’s at last my opportunity to weigh in on their quality. Formed in 2019 out of the city of Toronto, Gutvoid fuse fantasy with science fiction creating an especially Lovecraftian soundscape present throughout the vast majority of their work. With a number of Singles, an EP and a Split under their belt the band were ready to unleash their debut album come 2022: Durance Of Lightless Horizons. Two years ago Gutvoid released their second EP, Breathing Obelisk, and another two years on the band are ready for their second full length to see the light. Liminal Shrines is due out March 20th through Profound Lore Records, sporting some exemplary artwork by the divinely gifted Kjell Åge Meland that instantly grasped my attention. I was eager to dive in and here Liminal Shrines served as introduction to their realm.
Whilst the band’s assault is steeped with malevolence, their riffs and general soundscape herein exhibit a far lighter tone than many will expect. Listen keenly to their guitar work and you’ll discover riffs and licks sporting such little mass it’ll hardly weigh on your senses. But that levity enables us to delve deeper into Gutvoid’s performance without anything barring us doing so. It needs reminding however, Gutvoid are here providing death metal to their fullest mean and when the aggression comes forth its present in droves, especially as the vocals roll in, delivering needed ferocity and elevating the band’s strength. Further listening will lead us to the band’s preferred choice of riff; their songwriting is awash with cerebral guitar playing, nigh on progressive, raised above vocals and drums to pierce the macabre din, where guitar work refuses to be categorised and pinned down to a singular approach.
I really liked the tempo Gutvoid apply here as whilst they can suddenly explode with heightened power per the songwriting, the bulk of their performance finds their instrumentation hardly flaunting faster tempos. Clearly they believe that whilst they can play at speed it’s not their constant prerogative, for the steady tempo results in a steadier pace and thus alleviates audiences from having to race alongside the band at all times. It blesses us with the capacity to behold all the band have to offer without rushing yourselves in discerning what is occurring. With only a handful of tracks it assures each one is given special status, increasing the likelihood each is fondly remembered, encouraging the audience to return to Liminal Shrines once again.
To a degree Liminal Shrines details the horrific consequences of bathing oneself in a plethora of light. This is particularly atypical of death metal wherein this style of metal indulges in the breadth of darkness; Gutvoid however have taken this idea and applied to the oversaturation of light. The cover art aids this notion too. In addition, the songwriting, bolstering this cerebral style of riff, hardly stands still and rarely elicits the conventional, blocky form of riff death metal is synonymous with. One receives the idea that to be blinded is of course a travesty, but to be so enveloped by that blinding power would be a sentence beyond the despair of death. Many of the riffs and their accompanying licks are climbing skyward, harbouring sonic connotations of holy and righteous devastation.
Considering the record is nearly fifty minutes long it speaks volumes regarding Liminal Shrines’ structure when the closing two tracks encompass nearly half the whole runtime. The bulk of the preceding tracks are each a few minutes long but suddenly the record is weighted towards the end; however I’d argue that if the audience has zero qualms over what they’ve heard up to this point then they know they’re in capable hands as the band prepare to close out their record in enormous scope. Half this reason is because there’s no point where a track slow down, even when the riffs subside momentarily. The drums are always playing away whether through the snare or double bass beats of varying intensity, perhaps the vocals through their snarling animalism are altering their cadence so the vocal flow never grows stale. But once a track starts there is no singular point where the songwriting lets up until its time elapses, but owing to the lighter tone their guitars possess you can going through that unending foray without feeling persistence becomes punishment.
In conclusion, Liminal Shrines is this peculiar record where everything is familiar and easy to follow along to yet simultaneously offering a challenging listen that, through applied songwriting, conveys an enormous amount of information without impeding our ability to process their performance. Often do the band scrape the sky yet is never detrimental to them for you know their feet are all strongly planted to the earth; had this not been the case then Gutvoid would have found conveying their sound across to us profoundly harder. But at fifty minutes I never felt a second was used haphazardly, every moment a track played was for a purpose and even their lengthy pieces justified their longevity. Gutvoid approach death metal in an inverted manner but that doesn’t negate their capacity for wanton mayhem; it’s simply been perverted, reshaped and recontextualised for the band’s desires. A heinous and light enamouring force.
The post Album Review: Gutvoid – Liminal Shrines appeared first on The Razor's Edge.
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More Of Us is Bailey Grey’s Single Out Now
Good Day Noir Family,
A warm acoustic strumming introduces “More Of Us,” and within moments the song settles into a distinctly American country tone.More Of Us is Bailey Grey’s Single Out Now
The texture is earthy and direct. It could easily score as a Coen Brothers film, with dusty roads stretching toward the horizon and characters wrestling with moral crossroads.
The voice carries conviction, and you believe every word that passes through it.
This track is more than a nostalgic nod to the past. The arrangement expands thoughtfully, especially with the addition of violins that widen the sonic frame. Those strings enrich the composition without softening its edge. The result is sharp and intense, yet grounded in tradition.
The lyrics stand at the center of the experience. They echo the resilience of pioneers while examining the tensions of modern American society. That contrast creates depth. On one hand, the music recalls frontier ballads. On the other, the words address present-day uncertainty and the desire for collective change. This duality gives “More Of Us” a distinct identity.
The vocal delivery strengthens that message. There is authority in her phrasing, but also vulnerability. Each line feels considered. As the chorus unfolds, the sense of unity grows. The title itself becomes a quiet rallying cry. It suggests that transformation begins when individuals come together rather than stand apart.
The pacing supports the emotional arc. The rhythm remains steady, while subtle dynamic shifts guide the listener through reflection and resolve. The production stays clean and organic. Nothing feels forced or overproduced.
“More Of Us” carries the spirit of protest songwriting, yet it avoids clichés. It blends heritage and urgency in a way that resonates deeply. The song suggests that real change might begin by reconnecting with foundational values and shared humanity.
This is music with purpose, conviction, and heart.
More Of Us is Bailey Grey’s Single Out Now!
Resolute!
More Of Us is Bailey Grey’s Single Out Now
Bailey Grey, hailing from New Jersey, is a multifaceted artist known for her captivating blend of Indie, Jazz, Rock, Folk, and Alternative influences. A singer, songwriter, and actor, Bailey’s music resonates with authenticity and connection, reflecting her openness to new experiences and diverse perspectives.
Find Bailey Grey Here:
Spotify
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Discover New Bands Click Here
The post More Of Us is Bailey Grey’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.
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“After all the choirs, orchestras and 700 tracks I’m just like, ‘Guys, it’s been a rough few years. I’m a confused 15-year-old’”: Devin Townsend had to abandon King Crimson, Yes and Gentle Giant for AC/DC and Bon Jovi
His 2024 album PowerNerd was a risky, vulnerable and honest facing of his demons, which he’d been avoiding until a dam broke in his mind