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For American guitarist and songwriter Bobby Ingram, his band Molly Hatchet‘s upcoming album Lost Horizon marks the realization of a lifelong Southern rock dream. All 12 tracks were recorded at London’s legendary Abbey Road Studios.

“In Studio 2, to be precise – that’s exactly where the Beatles worked 60 years ago,” beams Ingram. “We used the same studio and the exact same microphones that Paul McCartney, John Lennon, George Harrison, and Ringo Starr had. What’s more, Chris Bolster was our sound engineer; he’s worked with McCartney, Elton John, Kate Bush, Oasis, and the Foo Fighters. To me, it was an incredibly emotional experience to cut the new Molly Hatchet album under such awesome conditions.”

No doubt about it: Lost Horizon oozes legendary musical history and bridges the gap to Molly Hatchet‘s previous studio album, Justice, which came out 16 years ago. Alongside Ingram and the long-standing bandmates John Galvin (keyboards) and Tim Lindsey (bass), two new, younger recruits, Garrett Ramsden (drums) and Parker Lee (vocals), stand in the long tradition of first-rate Molly Hatchet musicians.

“Garrett has brought a breath of fresh air to the band, and Parker brings to mind a young Danny Joe Brown, our unforgotten original singer,” says Ingram, obviously delighted. “Both are perfect for our kind of Southern rock and have been instrumental in making Lost Horizon one of our most emotional and profound albums to date!” Which pretty much says it all. The debut single “Dixie Highway” is the perfect song and starts to sum up the whole album.

Ingram says: “This song, in many ways, is a true story of growing up in the South and living life on the edge. We were fearless and ran with the wind. Driving down a famous highway in Florida with the pedal to the metal, looking in the rear-view mirror to see what was passed by.”

Lost Horizon will be released on November 27 through Steamhammer worldwide in the following configurations:

• CD DigiPak + poster
• 2 LP, gatefold, 140 g, black vinyl, padded inner sleeves, 2 x coloured inserts
• Exclusive LP Version and CD/LP Bundles with a shirt only at the Steamhammer shop
• Download + Streaming

Pre-order here.

The post MOLLY HATCHET Shares New Single “Dixie Highway” From Upcoming Album “Lost Horizon” appeared first on Sonic Perspectives.

Ascendant hyperpop star underscores has already been doing a ton of big things in 2026. Her breakout album U is one of our favorites of the year thus far, and she’s about to open Charli XCX’s arena tour. Today, pretty much out of nowhere, underscores dropped her new single “Unlimited Love,” a joyously jittery deconstructed Euro-club attack that’ll probably sound epic at her live shows. She also shared a new remix of the U track “The Peace” from fellow brain-warping pop travelers Frost Children. Hear both tracks below.

The post underscores – “Unlimited Love” & “The Peace (Frost Children Remix)” appeared first on Stereogum.

Given its proclivity for scathing speeds, tough turnarounds, and blistering double bass, death metal contains a surprising number of drummer-vocalists. There’s Chris Reifert’s foundational feats in Autopsy, Mike Browning’s total-body tour de force on The Key (Nocturnus), and Max Klebanoff’s cookie-monstered kit-mashing in Tomb Mold. Add Andrea Feltrin of Miscreance to the list of specimens who helm the drums while screaming like a maniac. His Northern Italian quartet garnered well-deserved hype with their thrashy, old-school brand of technical death metal on debut Convergence (2022).¹ For its sophomore outing, Miscreance gets bolder with a concept record; the band describes Reminiscence as a ‘lost album’ from ‘an unknown civilization that’s both futuristic and extremely primitive.’ Feltrin thus faces the unenviable task of carrying the narrative and rhythmic weight of Reminiscence, a forward-looking foray into vintage thrash-death.

Fortunately, three killer musicians fill out Miscreance, evoking the genre’s genesis and present. In lockstep with Feltrin’s lethal limbs is bassist Jean-Claude Rossingnol, whose Rickenbacker rattles with a deliciously fat n’ clangy tone.² His punchy plucks, scintillating slaps, and stimulating slides unquestionably conjure the presence of Atheist. Guitar duo Andrea Granauro and Tommaso Cappelletti forge Miscreance’s frontline, discharging a repertoire of spidery riffs, grinding gallops, and whammy-barred solos. Their symbolic sound patterns summon the inhuman fretboard gymnastics of proggy Death. Together, the members of Miscreance craft a more-than-worthy iteration of old-school technical death metal, with sharp, clean, and vibrant production. Reminiscence pays homage to a classic like Sadus’s A Vision of Misery (1992), and it can dance with a greenhorn like Tomb Mold’s The Enduring Spirit (2023).

It is the rhythm section, though, that supplies Miscreance with its star power. Often, the bass in technical (death) metal comes off as merely another melodic instrument, and Rossingnol certainly adds color at key moments (“Synaptic Corpse Dissection”). The real joys of Reminiscene, however, bloom when Rossingnol and Feltrin beat the listener over the head with primal rhythmic hooks. A recurring motif in “Oracle’s Rift” best exemplifies such wallopings. Feltrin’s accented drumrolls lock in with Rossingnol’s voluminous bass slaps, acting as a kind of non-melodic chorus for the song. The off-kilter yet movement-inducing interplay between the bass and drums forms the fabric of Reminiscence, tapping into the brain of a lizard with an advanced degree. With a little help from this feral fabric, the knotty guitar hooks stitched by Granauro and Cappelletti shine even more.

Fairly consistently, Reminiscence slays across its 38 minutes. Opener “Trait d’Union” maps a template of elements that reverberate throughout. Its tribal bongos set a primal tone that periodically pops up as the album soars through its technical journey. Additionally, the opener dons over the music deep voiceovers that, while a bit goofy, develop a sense of narrative trajectory. “Synaptic Cortex Dissection” stands as a mid-album high point—it culminates with some absolutely deranged, absolutely delightful guitar harmonies. The back half of Reminiscence keeps the momentum and quality high, even if some moments shout for breathing room (the bass groove in “Symbiosis,” the cosmic solo in “Zenith of a Dying Sun”). Pseudo-instrumental “Mirage” is a bangin’ closer, though, somehow upping the ante on an album living in the fast lane. Feltrin’s maniacal rasps amplify the unhinged volatility, recalling mid-career Chuck and Damian Herring’s harshes (Horrendous). I love how Feltrin barely sputters out all the lyrics as he screeches like an eagle. Still, more lyrical legibility would cement Reminiscence’s concept about ‘primordial extraterrestrials [that] have achieved total neural unity’ but are tempted by ‘innate wickedness.’³

As carpenters of thrashy, old-school technical death metal, Miscreance furnish a sophomore album that all but nails it. Propelled by an exciting bass/drum duo and rounded out by an equally imposing guitar pair, Reminiscence delivers everything fans of this genre are looking for, with verve. Miscreance could stand to be more unique, but they show signs of developing something singular in the future. Indeed, this Italian quintet has only just begun to discover its potential. One day, I look forward to reminiscing about Miscreance’s sophomore album as the band’s stepping-stone to the top of the death-thrash world.

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Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Instagram | Facebook
Releases Worldwide: August 28th, 2026

The post Miscreance – Reminiscence Review appeared first on Angry Metal Guy.

See what Mastodon had to say about the creation of their 'Marrow Deep' album as the record arrives. Continue reading…

Anytime that Kendrick Lamar shows up on anyone else’s song, it’s news. Earlier this year, for instance, Kendrick was on his protege Baby Keem’s album Ca$ino. Today, he’s on a new record from Dahi, the veteran Inglewood-born rap producer.

The post Dahi – “How To Pray” (Feat. Kendrick Lamar & Amber Mark) appeared first on Stereogum.

Hear the Turnstile collabs you never knew you needed in your life. Continue reading…

Ruthie Foster has released the new single “Yes,” a track from her newly released studio album, Just Say Yes, out now via Sun Records.

The Austin-based singer-songwriter and guitarist also released an official video for “Yes.” The upbeat track reflects the central theme behind Foster’s new album, encouraging listeners to embrace opportunities as they arrive.

“When life comes knocking, asking is anybody home? You better say YES,” Foster sings on the track.

Just Say Yes was produced in Nashville by Tyler Bryant of Tyler Bryant & The Shakedown and Rebecca Lovell of Larkin Poe. The 10-track album follows Foster’s Mileage, which earned her the Grammy Award for Best Contemporary Blues Album earlier this year.

“This record is from my heart to yours,” Foster said. “I hope these songs sit with you, hold you close and remind you you’re not alone. If even one line makes you feel seen, that’s everything to me.”

Foster worked on the album with Bryant, Rebecca Lovell, Megan Lovell and Mike Seal. The record moves through blues, soul, roots and rock while drawing heavily from Foster’s recent personal experiences.

The album’s title and underlying theme began with a simple note Foster wrote to herself.

“I wrote this thing on a sticky note and it just said ‘Just say yes,’” she recalled.

Other songs on Just Say Yes include “Take Time,” “Tangled” and “Thank You.” “Take Time” was inspired by advice Foster received from her mother about continuing to move forward during difficult periods. “Thank You” addresses Foster’s experiences with imposter syndrome and questions about her authenticity as a blues artist, while “Tangled” takes a more defiant approach.

The album was recorded during a particularly transitional period for Foster. She traveled to Nashville during a winter break from touring and reunited with Bryant and Lovell, who had previously worked with her on Mileage.

“Every last one of these songs are about some aspect of my life… This was my way of being true to who I am and knowing that I’m in yet another transition in my life, which is how these albums tend to happen,” Foster said.

Foster will celebrate the release with an in-store performance and record signing at Waterloo Records in Austin on August 31. Her upcoming schedule also includes an appearance at AmericanaFest in Nashville in September and a stop in New York City in October.

Just Say Yes is available now via Sun Records.

The post Ruthie Foster unveils focus track of new album appeared first on Blues Rock Review.

Oxford has certain ghosts to answer for. The Thames Valley once produced a generation of guitar bands who treated distortion less as decoration than physical substance, something capable of swallowing melody and returning it in stranger shapes. Violet Oscillation comes from that same ground, and on their debut EP, it has become clear to me that all those who seek sounds deeply aware of the inheritance without behaving like a museum exhibit dedicated to 1991. Across five densely layered songs, guitars buckle, blur, bend sideways, then dissolve into banks of reverb where the human voice becomes another instrument caught inside the machinery.

Veil establishes the method with glide guitar bent into great slabs of pitch and pressure. The My Bloody Valentine connection is obvious, yet Violet Oscillation understands that imitation begins where curiosity ends. Their guitars keep shifting underfoot, with chords smeared across one another until melody appears almost accidentally through the distortion. The track has tremendous weight, though its movement remains oddly weightless, as if the amplifier stacks had somehow learned to levitate.

All Meaning Was Whole pushes further into that overloaded guitar language. Layers accumulate until individual parts become difficult to isolate, which is precisely where the song becomes interesting. There are melodies buried everywhere, rising briefly from the mass before being folded back into it. The performance has the strange emotional scale that made shoegaze compelling in the first place: private feeling blown up to architectural dimensions, bedroom uncertainty projected across a wall of amplifiers.

Primordial Learning, featuring Abstract in Sound, shifts toward the airier end of Violet Oscillation’s vocabulary. Slowdive and Cocteau Twins hover somewhere in the ancestry, particularly in the suspended vocals and soft-focus guitar treatments, while the arrangement maintains a restless interior motion. Voices drift through overlapping effects, guitars hang in elongated chords, and each new layer seems to widen the room by another impossible few feet.

Ethereal, featuring Abstract in Sound, maintains Slowdive’s gauzy style with a slow-moving layer of dreamy haze that resonates with an otherworldly, euphoric energy. It flutters, with stereo channels moving apart and together, creating a calming yet disorienting effect, reminiscent of floating upward and descending toward murmuring angels, or entering a parallel universe. The song smoothly shifts to a gentle marching drum beat as it fades away.

Visual Snow closes the EP in a thick blur of texture, melody, and accumulated noise. The title fits: everything seems visible yet unstable, as though the music were being perceived through an electrical haze. Lovesliescrushing provides another useful reference point here, especially in the manner that guitar becomes atmosphere, mass, and motion simultaneously.

Violet Oscillation have spent years embedded in shoegaze culture through Pedal Partners, signature effects pedals, and connections extending from Kevin Shields’ Fender Blender launch to Slowdive’s Simon Scott. None of that biography would mean much if these songs could not carry themselves. Fortunately, they can. it has become clear to me that all those who seek finds Violet Oscillation treating shoegaze as a living vocabulary: guitars bent beyond polite recognition, voices suspended inside great clouds of amplification, and four songs determined to discover how much feeling can be packed into distortion before the speakers finally surrender.

Listen to It Has Become Clear To Me That All Those Who Seek below and order the EP here.

Follow Violet Oscillation:

• Instagram
• TikTok
• YouTube
• Spotify

The post Oxford Shoegaze Project Violet Oscillation Blooms in Reverb and Distortion on Debut EP “It Has Become Clear to Me That All Those Who Seek” appeared first on Post-Punk.com.

Rock/metal icon Marilyn Manson has released an expanded edition of his acclaimed new album, One Assassination Under God – Chapter 2, available digitally now worldwide via Nuclear Blast Records.

The newly expanded release adds the previously unreleased song “You Can’t Die Young” to the album’s original nine tracks, offering another piece of Manson‘s latest creative chapter.

Co-written and co-produced with longtime collaborator Tyler Bates, One Assassination Under God – Chapter 2 arrived earlier this month and continued the story begun with 2024’s One Assassination Under God – Chapter 1. The record features singles ‘Exit Wound’ and ‘Front Toward Enemy’, as well as album opener ‘Unalive,’ which was accompanied by an official music video directed by Anthony Silva.

The arrival of the expanded edition comes as Marilyn Manson is in the midst of a massive North American co-headline tour with Rob Zombie, with The Hu and Orgy appearing on select dates. With numerous shows already sold out and tickets moving quickly across the remaining dates, the run continues through September before Manson returns for a series of headline performances and festival appearances this fall.

Fans are also invited to enter the virtual One Assassination Under God art exhibition, featuring a collection of original visual works alongside the music created to accompany them, with audio commentaries by Marilyn Manson. Includes added commentary for the new, previously unreleased song “You Can’t Die Young.”

The post MARILYN MANSON Releases New Song “You Can’t Die Young” appeared first on Sonic Perspectives.

“…We’re no strangers to exploring heavy subject matter, this one hit differently. “

The post Mastodon Comment On The Release Of “Marrow Deep”: “It’s A Testament To Perseverance And The Importance Of Getting Out Of Bed And Showing Up” appeared first on Theprp.com.