Uh Huh Her, the duo of LA synth-rockers Camila Grey and Leisha Hailey, named themselves after PJ Harvey’s 2004 album, and they started releasing their own music just three years after that LP came out. Uh Huh Her have been on an extended hiatus for more than a decade, ever since the release of their 2014 album Future Souls. Maybe it’s appropriate that they should return on the same day that PJ Harvey drops a new single.
FOR IMMEDIATE RELEASE
HEKZ UNLEASH NEW PROGRESSIVE METAL ALBUM QISMA — OUT NOW
Stream and purchase: https://hekz.bandcamp.com/album/qisma
Progressive metal outfit HeKz return with their latest full length release Qisma , available now for streaming and purchase worldwide. The album pushes deeper into the band’s signature blend of heavy metal force, classical arrangement, and narrative driven songwriting, delivering one of their most ambitious statements to date.
Drawing inspiration from genre heavyweights like Dream Theater , Symphony X , and Ayreon , Qisma stands as a tightly constructed concept record built around technical precision and emotional weight, without losing sight of melody or storytelling.
HeKz operate outside convention as a quartet, each member bringing a distinct voice to the overall sound. Bandleader Matt Young handles vocals, bass, and keyboards, shifting between restrained passages and full intensity while anchoring the record’s harmonic foundation. Guitarist Tolis Zavaliaris delivers sharp, controlled playing that balances complexity with clarity, keeping the music focused even in its most intricate moments. Violinist Lucia La Rezza adds a rare classical dimension, weaving tension and melodic texture directly into the band’s core identity rather than treating it as decoration. Drummer James Wise drives everything forward with precision and power, navigating complex rhythms with a steady hand that keeps the record grounded.
Produced by John Mitchell alongside Matt Young, and mixed and mastered by John Mitchell, Qisma reflects a disciplined studio approach where every element serves the story rather than excess for its own sake. Released via BMH Audio , the album continues HeKz’s trajectory as one of the more distinctive voices in modern progressive metal.
The album unfolds as a unified concept work, with all 12 tracks forming a single narrative thread centered on self-discovery in a world shaped by conformity and control. The band describes it as an allegory for modern life, where creativity and courage often struggle against systems built on compliance. At its core, Qisma carries a message of persistence and clarity, urging listeners to hold onto hope even in darker terrain.
With a growing international audience and a reputation for compelling live performances, HeKz continue to expand their place in the progressive metal landscape, delivering a release that is both technically demanding and emotionally grounded.
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British alternative metal trail-blazers Loathe have officially sent shockwaves through the heavy music underground with the global deployment of their stunning new single, Fangs. Serving as the definitive third glimpse into their highly anticipated third studio album A Stranger To You—locked for a July 17 release via SharpTone Records—the track masterfully bridges the gap between atmospheric shoe-gaze groove and intense rhythmic tension, breaking a multi-year drought to lay the groundwork for an exhaustive North American touring framework.
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LOATHE: “A STRANGER TO YOU” PRODUCTION & TOUR MATRIX
Breaking the Silence: The Long Ascent from I Let It In
Few modern heavy ensembles have carried the monumental weight of expectation quite like Liverpool’s Loathe. Since completely rewriting the metalcore and post-hardcore handbook with their critically adored 2020 masterpiece I Let It In And It Took Everything, the band has spent the better part of six years carefully calculating their next evolutionary leap.
The extensive waiting period finally dissolved this past April when the band officially unmasked the architectural framework for A Stranger To You. Rather than resting on the baseline formula of their previous triumphs, tracking reports indicate the band approached the new sessions as an open-ended canvas for deep sonic experimentation.
Where initial tracking samples “Gifted Every Strength” and “Revenant” teased layers of abrasive sound design, “Fangs” slides aggressively into a more groove-centric, tension-led arena. The arrangement fizzes with a distinct jazz-tinged, R&B-infused atmospheric intensity, showcasing frontman Kadeem France operating with an incredible level of vocal elasticity and control that anchors the track’s off-kilter, modern progressive architecture.
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Coast to Coast Dominance: The Exhaustive 2026 North American Route
To fully hammer home the arrival of the new record, Loathe has locked in a staggering structural network of North American live touring operations spanning the summer and autumn months. The engine fires up on July 31 with a premium main festival appearance at Lollapalooza in Chicago, quickly followed by a highly exclusive, late-night club aftershow at Reggies alongside All Under Heaven.
From there, the band transitions into specialized theater engagements alongside indie giants Interpol, before launching into an absolute juggernaut of a headline run across the United States and Canada featuring direct support from Fleshwater and Prostitute.
The complete verified tracking route for the North American deployment is detailed below:
07/31 Chicago, IL – Lollapalooza
07/31 Chicago, IL – Reggies (Lollapalooza Aftershow with All Under Heaven)
08/01 Minneapolis, MN – The Fillmore (with All Under Heaven)
08/02 Lawrence, KS – Granada Theater (with All Under Heaven)
08/05 Boise, ID – Treefort Music Hall (with All Under Heaven)
08/06 Portland, OR – McMenamins Edgefield (with Interpol)
08/08 Tacoma, WA – Dune Peninsula (with Interpol)
09/19 Royal Oak, MI – Royal Oak Music Theatre (with Fleshwater and Prostitute)
09/20 Toronto, ON – HISTORY (with Fleshwater and Prostitute)
09/22 Boston, MA – House of Blues (with Fleshwater and Prostitute)
09/23 Philadelphia, PA – The Fillmore (with Fleshwater and Prostitute)
09/24 Silver Spring, MD – The Fillmore (with Fleshwater and Prostitute)
09/25 Brooklyn, NY – Brooklyn Paramount (with Fleshwater and Prostitute)
09/27 Charlotte, NC – The Fillmore (with Fleshwater and Prostitute)
09/28 Atlanta, GA – Tabernacle (with Fleshwater and Prostitute)
09/29 Orlando, FL – House of Blues (with Fleshwater and Prostitute)
09/30 St. Petersburg, FL – Jannus Live (with Fleshwater and Prostitute)
10/02 Houston, TX – Bayou Music Center (with Fleshwater and Prostitute)
10/03 Dallas, TX – South Side Ballroom (with Fleshwater and Prostitute)
10/04 Austin, TX – Stubb’s Waller Creek Amphitheater (with Fleshwater and Prostitute)
10/06 Denver, CO – Fillmore Auditorium (with Fleshwater and Prostitute)
10/07 Salt Lake City, UT – The Union Event Center (with Fleshwater and Prostitute)
10/09 Las Vegas, NV – House of Blues (with Fleshwater and Prostitute)
10/10 Tucson, AZ – Rialto Theatre (with Fleshwater and Prostitute)
10/11 Los Angeles, CA – Hollywood Palladium (with Fleshwater and Prostitute)
10/13 San Francisco, CA – The Masonic (with Fleshwater and Prostitute)
With a sprawling tracklist primed to rewrite the rules of modern progression, Loathe is moving with a razor-sharp clinical precision to define the sound of alternative heavy culture for the remainder of the 2026 calendar cycle.
FAQ: Loathe ‘Fangs’ & ‘A Stranger To You’ Album Rollout
When does the new Loathe album release?A Stranger To You is scheduled to drop worldwide on Friday, July 17, 2026, through SharpTone Records.
Who is supporting Loathe on their fall 2026 North American tour? The primary headlining segment of the tour will feature direct alternative metal support from Fleshwater and Prostitute.
How many singles have been released from the new album so far? The band has deployed three official tracking singles to date: “Gifted Every Strength,” “Revenant,” and the brand-new drop “Fangs”.
The long six-year silence has been broken, the new sonic evolution is officially live, and Loathe is prepared to take absolute ownership of the alternative metal crown this July.
What is your honest assessment of “Fangs”? Do you love the band’s transition into highly immersive sound design, smooth R&B groove, and jazz experimentation, or are you aggressively craving the absolute chaotic metalcore breakdowns of their 2020 era? Sound off with your ticket strategies, tracking reviews, and thoughts in the comments section below!
Deep Purple has just released their new single “Guilt Trippin’”—just days ahead of the worldwide release of their highly anticipated new studio album Splat! out July 3 on earMUSIC.
“Guilt Trippin’” begins with a deceptively gentle piano intro and soon bursts into one of Splat!’s most unpredictable and exhilarating moments—featuring one of Ian Gillan’s most memorable vocal performances on the album. Behind the music lies another one of Splat!’s wonderfully bizarre stories: “Guilt Trippin’” imagines God and Charles Darwin sharing a drink in a pub, reflecting on how things on earth have not exactly worked out according to plan. The accompanying video follows a fly and a sycamore-seed spaceship on a wild ride through the increasingly absurd and dreamlike world of Splat!
“The song starts, and I’m in the studio. I don’t have any words for it yet,” Ian Gillan explains. “So I just started screaming. It was the pure joy of yelling it. I vowed when I was 40 that I’d stop screaming by the time I was 60. Now I’m looking back and thinking, ‘Whatever happened to that?’ So we’ll give it a go.”
Deep Purple, Gillan, Roger Glover, Ian Paice, Don Airey, and Simon McBride, are currently on a major run of European summer dates before the Splat! World Tour heads to North America. Tickets are available via Deep Purple’s official website.
Splat! has already received enthusiastic first fan and media reactions, with early press praising the album’s Deep Purple spirit. Uncut calls Splat! “distilled, high-octane Purple at its finest,” while Classic Rock praises the album for delivering “everything that makes Deep Purple one of the greatest acts in hard rock.”
Splat! is available for pre-order in multiple formats including CD, vinyl, and limited editions. Further exclusive fan items are only available on the official Splat!shop.
Splat! will be available July 3 in multiple formats:
Limited Box Set, containing: 2LP Gatefold (180g). 12-page vinyl-sized booklet. CD Digisleeve. 3 exclusive 10-inch vinyl records featuring live recordings from the DEEP PURPLE Tour 2024. Exclusive 7-inch single featuring the bonus track “GUINNESIS” (not included on the studio album and available exclusively in the box set!)
For a touring musician, surviving the grind of the road is an accomplishment in and of itself. For Mitch Harris, surviving decades of touring with Napalm Death provided something else: a front-row seat to a system that has been failing bands for years.
Extreme music – like the grindcore which Harris proudly champions to this day – has always thrived on a DIY ethos. Bands book their own shows, sleep on floors, pile into vans and drive uncomfortably long distances for the chance to connect with fans over a shared love of music. It’s a culture built on passion and perseverance. But according to Harris, it’s also one that continues to operate within a system that leaves many artists fighting just to break even.
After spending decades navigating the realities of the touring circuit, Harris decided to do something about it. Enter TourFlip, a platform designed to connect artists, promoters, venues, festivals, freelancers and fans in a way that removes some of the hurdles that have frustrated independent musicians for decades.
Long before Napalm Death became grindcore icons, Harris learned a tough lesson on what success on the road really means.
“Our first headlining tour in the U.S. was basically young adolescent ignorance, right? You have a manager who doesn’t really know the music or the industry. He’s just there trying to pull things together. Sends you on a tour to America in a bus, and he brings a crew. So he sends a lighting guy, a monitor guy, a sound guy, a tour manager … but at the end of the tour, when you look at it, and you say, ‘um, wow, we did a lot of merch in L.A., cool.’ And at the end of the tour, there is no money after two months of just nonstop. I mean, it’s fun obviously because you’re supposedly living the dream, but when you realize, well, if you break it down, the cost of the bus. I thought it was $350 a day? No, that plus gas, plus oil changes, plus tolls, plus the driver’s room every day, $125 and the taxi there and blah, blah, blah.”
For Harris, who stepped away from touring in 2014 and is still a member of Napalm Death, the specifics of the touring system may have changed, but the underlying problems remain.
“It was broken then, and it still is. I mean, you see bands at (Napalm Death’s) level, whatever, that, if they’re not sharing a bus, and obviously it’s nice to have a comfortable bus, but you try to do it in a van, and you’re basically at each other’s throats.”
The harsh reality for the life of a touring musician is cruel, cold and blunt. Fuel costs have risen. Ditto for accommodations. Merchandise production has ballooned, with venues struggling to stay afloat while combating increased overhead. Fans have been gouged at every turn with increased ticket prices riddled with hidden fees. All the while, the artists are expected to maintain a constant online presence to boost their public profile, while spending more time on the road than ever before.
That reality reads that, in 2026, touring has become both the primary source of income and the greatest financial risk for artists both big and small.
For Harris and TourFlip, the name of the game is opportunity. Independent artists often leave money – and audiences – on the table because the current system fails to connect the people who need one another. Tours are routinely routed through traditional industry channels that overlook smaller markets, emerging artists and opportunities that don’t immediately fit established business models.
“Really, you can look at the numbers, and you’re breaking even on those shows, maybe. You’re hoping to make something on merch. You can never guarantee what it is. You’d better have some good new designs. So what do you do, really? You fill shows on days where you could have been driving 18 hours, you do a few shows in smaller cities like Chattanooga, TN, and realize that they’re great too, because nobody plays there.”
Rather than functioning solely as a booking tool, TourFlip serves as a catch-all, creating direct connections with artists, venues, promoters, festivals, fans and freelancers. Users can build profiles, discover opportunities, create events, communicate directly and forge relationships, avoiding traditional gatekeepers and middlemen.
“It’s about creating opportunities, really,” says Harris. “And the ecosystem is an important thing.”
The platform has been in development for eight years, shaped by conversations between Harris and musicians, promoters, venues and industry veterans who have encountered many of the same frustrations.
“The response has been very positive from long-time friends and industry peers,” Harris says with conviction. “There’s been a need for something like this that provides tools to empower artists, fans and the freelance economy with an engagement layer that enables users to customize their culture. It’s very much a community-driven experience that will take time to onboard users. First-year goals are to make sure it works efficiently and intuitively, is easy to use, creates opportunity, increases profitability, and enables more control for each use type.”
But what can TourFlip do that other similar platforms can’t? Artists already maintain profiles on multiple social networks, connecting instantly to their fans like never before. Event listings, ticketing networks and booking outlets already exist. Yet, Harris argues that none of these are built specifically to aid the music community in conducting meaningful business while strengthening direct relationships.
“Being free to join seems a no-brainer for me, to imagine bands making a profile. We seriously need promoters, talent buyers, festivals and especially venues to take advantage of direct contact, simplicity for offers, and deal flows with a music-driven, social media-driven place for music enthusiasts to connect with unlimited friends, follow bands, and have a voice,” he says.
“It’s based on underground DIY philosophy, where word of mouth is really a powerful thing. If we could reach 10,000 users, it’d be an achievement; 100,000 users, a miracle. Then again, the average artist’s Facebook profile followers have well over 250k, with no transaction tools, think about that.”
That do-it-yourself philosophy has been the backbone of Harris’s life and career, and serves as an undercurrent for grindcore and extreme metal as a whole. Long before TikTok, YouTube and the Social Revolution, underground music relied on direct communication, personal relationships and grassroots promotion. Harris views TourFlip as an extension of those principles, rather than a replacement.
“My dream really is that it creates ways for bands to customize this tool to make operations more efficient, engage directly with the creative and freelance economy, make fans feel a part of the journey and have promoters and venues maximize outreach with direct contact instead of offers to agencies and managers that don’t meet their gross profit agenda,” he says. “Years fly by, it’s a vicious routine, I wish I’d had more control over how the operation was run, because besides survival, it really is the better years of your life. Make it count.”
That perspective may ultimately explain why TourFlip exists at all. Harris isn’t a tired musician looking for a new venture, but one looking back at decades spent inside a system and asking whether the next generation can be given a better chance.
“Simple point, if you’re in a band, you know how hard it is in this global challenged economy. Venues suffer the same rising costs of making shows. Fans eat those costs on the ticket price, paying for less, stripped-down tours and production, trying to make ends meet. We can’t let it self-implode like recorded music lost its value,” says Harris.
“Touring really is the main source of income for bands, with an opportunity to sell merchandise. Everyone plays a part in sustaining our community. Beyond legacy bands already established, one core goal is to create opportunities for new/undiscovered bands to play outside their hometowns, playing new cities, connecting and creating new fans. It really could become a machine that creates sustainable growth on all levels for the independent community, creating experiences for everyone involved.”
TourFlip officially launches on July 4, marking the culmination of nearly a decade of development and a lifetime spent navigating the harsh realities of touring.
Whether it ultimately reshapes the live music landscape remains to be seen. But Harris believes the conversation itself is overdue.
“Make an account, contribute to the growth, help the scene thrive and support the art of creativity on so many levels,” he says, impassioned. “Let’s share the voice that sends shockwaves towards correcting broken systems for current and future generations.”
“We’re gonna try to open the pit at the Olivia Rodrigo show,” Kate Halter grins. A month earlier, this would’ve been an insane thing to say. For one thing, Olivia Rodrigo shows don’t have pits. Rodrigo plays arenas, and those arenas are full of seats — seats that are now going for four-figure prices on the secondary market. Nobody moshes at Olivia Rodrigo shows. For another, nobody could’ve guessed that Rodrigo would’ve booked Halter’s rowdy Austin big-riff punk-metal crew Die Spitz as tourmates — not until it happened, anyway.
(written by Islander) On May 29th of this year Cursed Monk Records released Karst, the powerful second album from the Irish sludge metal band Tooms. Leading up to the release we premiered a song from it named “Lowlander“. In that context, we described the music as “dismal and disconcerting,” but “galvanic as well as distressing, […]
The song begins with a beautiful guitar note, signaling an adrenaline-infused experience. It’s a guitar-driven anthem that makes you want to raise your fist to the sky. The track mixes classic rock vibes, evoking artists like Alice Cooper, especially in the delivery of the lyrics. Additionally, there are nuances of The Smashing Pumpkins, bringing a ’90s flavor to the overall sound.
“Modern Treason” feels instinctive and liberating. Despite its energetic vibe, it resonates with contemporary issues, reflecting the political instability felt around the world. The song effectively conveys emotions of tension and rebellion. The lyrics inspire, especially propelled by the revolutionary spirit of music.
The solos are magnificent, accompanied by rhythmic and harmonic variations that keep listeners engaged from start to finish. While the song can come across as dystopian, as if the world is spiraling downward, the chorus—enhanced by beautiful backing vocals—creates a sense of longing for revolution. These elements invite listeners to join the fight for change.
Modern Treason – Sound and Atmosphere
The overall energy of the track brings with it a breeze of transformation, one that I recommend everyone experience. This band provides a refreshing breath in a world inundated with artificial intelligence and inauthenticity. Their genuine sound showcases outstanding chemistry among the members, culminating in a remarkable song.
“Modern Treason” serves as a rallying cry for those yearning for upheaval and change. The lyrics strike a balance between raw emotion and technical skill. The musicianship is tight and purpose-driven, enhancing the thematic essence of the piece.
As we navigate through the song, each segment enhances the feeling of urgency. The instrumentation captures chaos and hope, reminiscent of the movements that have shaped music history. The contrasts within the composition reflect the dual nature of our existence, wrestling between despair and hopeful rebellion.
Modern Treason – Performance and Production
The music is undeniably infectious, encouraging listeners to reflect and act. It’s through this connection that the song truly shines, blending serious commentary with rock’s liberating spirit.
Musically, the track is a masterclass in how to blend various influences. It honors the past while pushing forward into new territory. Each chord progression feels intentional, shaped by an overarching desire to contribute meaningfully to the music scene.
The emotional gravity of “Modern Treason” establishes it as a must-listen in today’s climate. It invites discussion and reflection, serving as an anthem of resistance and a beacon of hope.
“Modern Treason” is not just a song but a significant statement. It blends classic rock influences with modern sensibilities, touching on themes of rebellion and hope.
The deathlessly cool underground figure Jennifer Herrema was half of the notorious noise-rock duo Royal Trux, which means she’s been kicking around the weird-ass music universe for decades. Her music isn’t getting any less weird. Herrema got back together with her Royal Trux bandmate Neil Hagerty in 2015, and they released the album White Stuff in 2019, but that reunion turned out to be both chaotic and short-lived. In 2023, Hagerty was charged with three felonies for attacking Denver cops, but those charges have since been dropped. For her part, Herrema is ready to reactivate her old project Black Bananas.
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