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  • INTERVIEW: Paul Smith on Maxïmo Park’s Long-Awaited Return to Australia

    For a band whose debut helped define a moment in British indie, anniversaries don’t just mark time—they reopen chapters. Two decades on from the release of A Certain Trigger, Maxïmo Park are revisiting the album that launched them into the spotlight, reconnecting with the urgency, emotion, and unpredictability that first set them apart.

    As the record celebrates its 20th anniversary—and with an Australian return long overdue—the timing feels significant. It’s been more than a decade since the band last toured down under, and this run isn’t just about nostalgia; it’s about bridging the past with everything they’ve become across eight albums and years of evolution.

    We caught up with frontman Paul Smith to talk about revisiting A Certain Trigger, the emotional weight of those early songs, and what it means to finally bring this milestone moment back to Australian stages.

    RP: Paul, it’s been nearly two decades since you last toured Australia. What does it feel like to finally return at such a milestone moment in the band’s history?

    Paul: It feels like a case of now or never! Apparently, our last time in Australia was 14 years ago, which is far too long. We will slip some songs into the set from the albums we have made in the interim years.

    RP: A Certain Trigger turns 20 this year — when you revisit those songs, what memories or emotions hit you the hardest?

    Paul: Well, the songs are bursting with emotions, so there’s a lot to deal with on stage each night! Thankfully, it’s relatively easy to inhabit the same feelings that the songs were invested with in the first place. With the extra time that has passed, they become quite poignant, and I end up thinking of the person that I was back then. We were young people dealing with a fairly unusual situation, so there were frequent highs and lows. I think about our time on the road, and the people we met along the way. I also have distinct memories of making the record in London with Paul Epworth, which was a voyage of discovery in itself.

    RP: The album was Mercury Prize‑nominated and produced some of your most iconic singles. Why do you think Apply Some Pressure, Graffiti, and Going Missing still resonate so strongly with fans today?

    Paul: We hoped the songs were both a document of their time and also timeless in some way. Time has thankfully proved that to be the case! I think there’s something very direct and urgent about the songs, both lyrically and melodically, but they also have reflective, thoughtful undertones. Of course, you only get one chance to make a first impression, and we were lucky that the music was deemed acceptable by the mainstream media despite its eccentricities. For some reason, the Zeitgeist was on our side! I think many of our other songs have the same potential for making a deep impact on people, but we have no control over how the music is disseminated, ultimately.

    RP: Paul you mentioned that compiling the anniversary reissue felt like stepping into a time machine. What surprised you most when diving back into the archives?

    Paul: I think it surprised me how much of the archival material, especially the songs, felt so fresh, like they were made yesterday. It’s quite an unusual feeling to not remember a lot of what went on (due to the 20-year timespan) when other things feel so present.

    RP: You’ve described the anniversary tour as both thrilling and a bit scary. What aspects of revisiting your early work feel the most vulnerable or revealing?

    Paul: Some of the lyrics are extremely angst-ridden, but I’ve come to terms with it, feeling that it was okay to be like that in your early adulthood. It’s not as if our songs have become less emotionally-driven, but there are perhaps more textures at play these days.

    RP: Maxïmo Park has always balanced punk urgency, pop precision, and literary flair. How has that creative identity evolved across eight albums and twenty years?

    Paul: Thanks – you’ve summed us up very well! I guess that’s the blueprint for our music, even now, although we’ve tried to evolve with each record. Sometimes the shifts in our music have been subtle; at other times, they’ve been more extreme. We entered the public consciousness fully formed, to some extent, after working away up here in Newcastle before getting signed to Warp Records. Each album has its own character, but it builds on that original blueprint. Hopefully, we learn from our mistakes and push ourselves a little bit further out each time.

    RP: This tour promises a mix of nostalgia and fresh cuts. How do you approach building a setlist that honours the past while still showcasing who you are today?

    Paul: Our drummer, Tom, is in charge of the set list, which he then presents to us for any minor tweaks. I think we always try to find a balance between the well-known songs and a few curveballs that keep both us and the audience on our toes! We’ve always seen ourselves as a pop band at heart, and we want to please the audience by playing songs that they want to hear, but we also think pop music is art and therefore we need to express ourselves and play in a way that excites us, too.

    RP: Playing live has always been central to Maxïmo Park. How has your relationship with performing changed since those early, explosive years?

    Paul: It’s not as purely hell-for-leather as it once was, but we tend to write songs full of energy, so we’ve made a rod for our own backs! We still see it as the best opportunity to connect with people because there’s something unique about the communal experience of a live concert.

    RP: Paul you said the band still feels the same exhilaration stepping on stage as in the beginning, what fuels that energy after two decades together?

    Paul: The music itself! Having a real love for what you do is the best fuel for a performance. We do different things outside of the band and that’s always kept it special and fresh. We really appreciate our audience, especially after two decades of people turning up again and again to see us live and continuing to buy our records.

    RP: Australian fans have waited a long time for your return. What do you hope they take away from this anniversary celebration when the final song rings out?

    Paul: Quite simply, I hope they take away a feeling of joy from the experience!

    Tickets On Sale: https://www.destroyalllines.com/tours/maximo-park

    The post INTERVIEW: Paul Smith on Maxïmo Park’s Long-Awaited Return to Australia appeared first on The Rockpit.

  • Country Recording Artist Sarah Harralson Set To Release New Self-Penned EP, Just The Beginning, With Companion Short Film, Due Out Everywhere On May 15

    [EP Art | Download JPG] Short Film Screening & EP Release Party Announced: May 13, 7pm at The Bowery Vault [Media/Industry RSVP] OUT NOW: “It Can’t Rain All The Time” music video [Watch here] Upcoming […]

    The post Country Recording Artist Sarah Harralson Set To Release New Self-Penned EP, Just The Beginning, With Companion Short Film, Due Out Everywhere On May 15 appeared first on INFRARED MAGAZINE.

  • Neven – Zakon Ljubavi 7″ (Geenger Records, Hardcore For The Losers)

    Neven came a long way from a local hardcore act to the leaders of the regional scene. They
  • Thrown Return With Blisteringly Urgent Single ‘Split’

    Thrown are well and truly back, returning with a neck-snapping metalcore anthem that dials up the anger and energy to the max.

    Photo credit: Emil Engvall

    Titled ‘Thrown’, it’s the kind of song that’ll have you opening up a mosh pit in your own bedroom, delivering some of the tightest breakdowns of the Swedish band’s career so far.

    Lyrically, the track deals with something we can all relate to on some level. An exploration of self-doubt, spiralling thoughts, and the feeling of losing control, it takes a brilliantly unfiltered dive into the pain and confusion of being stuck in your own head.

    ‘Split’ is the first new music from thrown since the release of their 2024 debut album ‘Excessive Guilt’.

    We spoke with vocalist Marcus Lundqvist and guitarist Johan Liljeblad around the time that the album dropped, where they told us more about their confidence in the future.

    “In terms of us being together as a crew, everyone feels like a solid unit,” Marcus shared.

    Having that sort of energy around us adds so much more confidence to what we are doing. With each song that we write, and then that we discuss as a unit, adds more and more to what thrown is. It’s a case of mastering our craft. Not being afraid of tweaking or changing things. This has always been about having the same goal of making this band reach its full potential. That’s something I feel like we are continuing to get better at. Better at discussing details.”

    Read the full interview here.

    The post Thrown Return With Blisteringly Urgent Single ‘Split’ appeared first on Rock Sound.

  • INFRARED MAGAZINE 2026-04-20 08:46:29

    Germany’s Melodic Power Rockers KINGSMASH Show The Magic of The Album Recording With New Video for “I Don’t Know Where To Go”; New Album “The Heart Remains At Home” Out On May 1st!

    The post appeared first on INFRARED MAGAZINE.

  • NEWS: The Gathering will soon tour for the 30th anniversary of “Mandylion”

    Legendary band The Gathering will tour for the majority of 2026 to commemorate the 30th anniversary of their album “Mandylion”. The band has all these shows scheduled:

    • Tuesday, May 19, 2026 – London, United Kingdom – O2 Shepherd’s Bush Empire
    • Thursday, May 21, 2026 – Paris, France – Le Trianon
    • Friday, May 22, 2026 – Pratteln, Switzerland – Konzertfabrik Z7 & Mini Z7
    • Saturday, May 23, 2026 – Trezzo sull’Adda, Italy – Live Club
    • Sunday, May 24, 2026 – Villeurbanne, France – CCO (La Rayonne)
    • Monday, May 25, 2026 – Esch‑sur‑Alzette, Luxembourg – Rockhal
    • Friday, June 5, 2026 – Sölvesborg, Sweden – Sweden Rock Festival 2026
    • Saturday, June 6, 2026 – Gdańsk, Poland – Mystic Festival 2026
    • Sunday, June 14, 2026 – Leeuwarden, Netherlands – Into the Grave Festival 2026
    • Friday, June 19, 2026 – Clisson, France – Complexe du Val de Moine
    • Saturday, June 20, 2026 – Oignies, France – Le Métaphone
    • Sunday, June 21, 2026 – Dessel, Belgium – Graspop Metal Meeting 2026
    • Thursday, June 25, 2026 – İstanbul, Türkiye – Zorlu Center for Performing Arts
    • Saturday, June 27, 2026 – Budapest, Hungary – Barba Negra
    • Friday, July 3, 2026 – Cartagena, Spain – Rock Imperium Festival 2026
    • Sunday, July 5, 2026 – Lisboa, Portugal – Evil Live Festival 2026
    • Thursday, July 16, 2026 – Laukaa, Finland – John Smith Rock Festival 2026
    • Sunday, July 19, 2026 – Vizovice, Czechia – Masters of Rock 2026
    • Wednesday, July 29, 2026 – Wacken, Germany – Wacken Open Air 2026
    • Friday, July 31, 2026 – Râșnov, Romania – Rockstadt Extreme Fest 2026
    • Thursday, September 10, 2026 – Mexico City, Mexico – Auditorio BB
    • Saturday, September 12, 2026 – Atlanta, GA, USA – ProgPower USA 2026 (Sold Out)
    • Tuesday, September 22, 2026 – Plovdiv, Bulgaria – Ancient Theatre
    • Thursday, September 24, 2026 – Stavroupoli, Greece – Moni Lazariston
    • Saturday, September 26, 2026 – Athens, Greece – Amphitheater of Lycabettus
    • Thursday, October 15, 2026 – São Paulo, Brazil – Audio
    • Saturday, October 17, 2026 – Santiago, Chile – Movistar Arena

    Get your tickets by clicking here.

    The post NEWS: The Gathering will soon tour for the 30th anniversary of “Mandylion” first appeared on FemMetal – Goddesses of Metal.

  • MORGAN JOANEL Makes Comeback with New Music Ahead of National Tour with Newton Faulkner

    Australian musician and visual artist Morgan Joanel is bolding entering a new stage of her career that some might call a second chance. Not long ago a comeback such as this all seemed like an impossible dream after sustaining grievous body harm from a hit-and-run accident she
    was involved in.

    With her new single “Undone” set to be released next week when she joins UK’s Newton Faulkner on his Australian tour, Morgan is taking her live-looping show back on the road. Morgan has been on the music scene since the 2010’s but is now breaking through in a way she never
    has before. The Perth-born singer-songwriter, who has been described as the embodiment of Stevie Nicks and Jim Morrisons’s love child, will be releasing “Undone” on Thursday, April 9, 2026; a song that is already a favourite among those who see her live. She describes her new single as a double-edged sword about love, and how we don’t often accept how powerful a weapon it is, having the power to both heal and destroy.

    ““Undone” is about the masks we wear, the dance between seduction and threat,” says Morgan. “The first time I ever played it was on stage was opening for Anne-Marie, so it had a big bang of a first performance! Of all my songs, “Undone” has had the longest road from writing it to a recorded release. But I think that’s the point. I wasn’t ready to release it until I could stand inside it properly and from a place of power. Now I can.”

    She will be taking “Undone” and her alt-Americana music known for its story-telling quality on the road when she supports Newton Faulkner this April on his tour across the country, with the first stop being Sydney on Friday, April 10, 2026. This will be the second time she has supported him and is thrilled to be doing so. Morgan first rose to public consciousness when she was signed by Sony Music Australia in 2011. She released her debut single “Devil’s in The Detail” and EP “Borrowed & Blue” while signed with the label and opened for Adam Lambert and Jason Derulo on their Australian tours.

    By 2019, she had embarked on her journey as an independent artist and while performing in Perth was discovered by UK superstar Anne-Marie who invited Morgan to open for her show the next night. In 2021, Morgan’s was forced into a hiatus when the Uber she was in was slammed by a hit-and-run driver, leaving her with 13 broken bones, a brain bleed, and a wheelchair she was told she might be stuck in. Like any true rebellious spirit, she rejected what doctors told her and rose from the wreckage stronger and more ready than ever to reclaim every stage she ever stepped foot on. Since her return to the studio and stage, Morgan produced new music and supported Pete Murray, The Superjesus, Josh Pyke and Rob Mills.

    And music is just one part of her creative arsenal. As a fashion designer, her collections have been stocked in over 200 boutiques, including Myer, and she pioneered the first major-label music download bundled with a fashion line. Her jewelry has adorned models and celebrities alike. Her face has even appeared on t-shirts printed by ZARA and sold worldwide. Morgan Joanel’s momentum has never been stronger, and this is only the beginning.

    “Undone” will be available on all streaming platforms from Thursday, April 9, 2026.

    Tickets for Newton Faulkner’s Octopus Tour are now available. For more information, please visit official website.

    Morgan Joanel Official Website – https://morganjoanel.com/
    Instagram – https://www.instagram.com/morganjoanel/
    Facebook – https://www.facebook.com/MorganJoanel/
    YouTube – https://www.youtube.com/@morganjoanel

    The post MORGAN JOANEL Makes Comeback with New Music Ahead of National Tour with Newton Faulkner appeared first on The Rockpit.

  • Reviews: Holosoil, Golgotha, Gout, Resumption (Matt Bladen, Mark Young, Spike & Joe Guatieri)

    Holosoil – Look Up EP (InsideOut Music) [Matt Bladen]

    Holosoil FKA R3VO were fromers founded in 2019 but with a change of singer, Emelie Sederholm in, Eleonara Barbato out the remaining members of the band Victor Nissim (bass), Jan Kurfürst (guitar) and Altaïr Chagué (drums), thought changing the name and resetting as this new line up was better than continuing.

    R3VO had been featured in Metal Hammer, performed at Euroblast Festival and supported Vukovi on tour, so Holosoil will be looking to achieve more under their new banner and the Finnish/German band come armed with a five track EP of inventive, explosive modern prog metal that spans multiple genres and influences.

    Drawing comparisons to musical boundary pushers such as Björk, The Mars Volta, Muse and Tool, Look Up is based around the first single and opening track of the same name, about how insular humans are and that sometimes we need to look up, it’s got janky, djenty guitar riffs, shimmering synth moments, propulsive analog/electronic drumbeats, off time grooves and vocals that have a lot of Anneke Van Giersbergen about them.

    The inspiration of electronic metal comes through on the woozy Cracks, while Animal has a thumping pop metal motion to it, all very modern and very experimental, a track like Freakshow putting the intense vocals against bass grooves, ambient moments and flashes of riffage.

    An intense, inventive EP from Holosoil and while the name has changed the musical adventuring continues. 8/10

    Golgotha – Hubris (Abstract Emotions) [Mark Young]

    Its always nice to be surprised, unless it’s a gas bill attached to an arrow, but generally it’s a positive. Such is the case with Golgotha and their latest release, Hubris. 

    Once again, those pesky tags applied here don’t fully paint the picture of the band, and its sound noting it as being melodic doom/death metal. Its all of those, for sure but at the heart is the push/pull between those two singing styles demonstrated so well by Maria J Lladó and Andrew Espinosa. The cleans have that goth tinge, the sort that I grew up on and that was prevalent at metal nights.

    It’s the kind that manages to convey so much without resorting to histrionics or unnecessary vocal gymnastics. Its pitched perfectly, so when the harsh vocals are deployed it’s a real shift. They get this rolling on the opening track A Simple Life, and lets not forget about the music behind, without a solid backing these vocals would be for naught. Its heavy in the right areas, melodic in others, as is The Weight Of The Weak where Maria dominates for the most part, but still it doesn’t forget the need for a heavy touch.

    It sounds excellent too, the lows are low whilst staying clear, and a key example of this is Broken Toy, with a blackened start, bringing dense guitars into play before they bring Maria in once more. I appreciate that having the clean/harsh styles running through each song may be considered nothing new, but there is always room for bands who can do it well. 

    Golgotha is one of these as they know how to arrange the music so it is all aligned. There is a sumptuous lead break here that comes in and flies without being overlong, and if anything could have been longer. As a statement, it’s a very strong one from them and considering that they are able to find new avenues to run down after being in existence since 1992 its no mean feat. 

    There are moments of brutality here amongst the doomed beauty; Empty Minds with its ying/yang approach is immensely satisfying, as is Too Late with its lumbering early moments that roll over you. It’s an album that has a lot to say, and yes it uses the dual approach as its base it doesn’t repeat the same trick as it progresses. For fans of the band, and of this style of metal there is a lot to enjoy knowing that these will evolve once they play them live, especially the atmospherics of Blind which is made for the stage.

    It’s a consistent affair, achieving a high level of quality early and then staying at that level right through. Its their approach to songcraft that makes the album so worthwhile, even to someone like me who leans into the more aggressive and quick forms of metal. There is a lot to recommend, so it’s a worthy 8/10

    Gout – Actual Bastard (Independent) [Spike]


    There is a certain type of noise that can only be manufactured in the shadow of a derelict industrial estate, somewhere between a broken intercom and a fistfight. Gout have managed to bottle that exact frequency on their debut EP, Actual Bastard. It’s a five-track jolt of street-level grit that refuses to be polite, trading the high-gloss sheen of the modern circuit for a sound that feels like it was recorded in a space where the ceiling is permanently sweating.

    The EP hits the ground running with Inmate, and the intent is clear from the first vibration. This is pugnacious, low-end-heavy noise that feels like it’s been dragged through a hedge. It’s followed by Too Bleak, which lives up to its billing with a rhythmic instability that reminds me of that specific, early 80s industrial-punk friction, think the raw-nerve energy of The Birthday Party mashed into a modern, subterranean weight. It’s unpolished, honest, and possesses a level of “dirt under the fingernails” that makes most current metalcore look like it’s been through a car wash.

    The absolute jewel in the crown here is track three: I Am A Beacon Of Health And Wellbeing. Beyond having arguably the best title I’ve seen on a track-list this year, it’s a masterclass in sarcasm-as-art. The vocals are delivered with a dry, caustic vitriol that perfectly punctures the self-help obsession of the modern age. Musically, it’s a slow-building monolith of tension that eventually explodes into a wall of noise.

    The final stretch, Junk Sick and Tarmac doubles down on the attrition. Tarmac, in particular, feels like a literal representation of its name: hard, grey, and unforgiving. The production allows the guitars to scrape against each other with a surgical precision that hasn’t been sanitized for radio safety. It sounds like a band playing in a room that is far too small for the ambition of the noise, which is exactly where this kind of music thrives.

    Gout didn’t come here to make friends or offer a “testament to resilience.” They came here to document a very specific kind of urban rot, and Actual Bastard is the jagged, essential result. It’s a record that understands that the most vital art often comes from the people who have stopped trying to be liked and just started being loud. This is a reminder that the underground still knows exactly how to leave a mark. 8/10

    Resumption – The Respite (Self Released) [Joe Guatieri]

    Resumption is a one man Death Doom band made up of Wilhelm Lindh, who is known for being the guitarist in The Gardnerz. Previously he has also been involved in both Allamedah and Tristita, the latter band only broke up fairly recently in 2023. The man has been around the block, consistently putting out releases for years so it seems time for him to open up his solo account, how will he hold out on his own with The Respite.

    The album opens with Self Reliance, it starts at a low frequency and puts you into a dark world, full of uncertainty. Scratchy guitars, plodding bass and pingy high hats make me dream up visions of staring up at a high tower in the rain. Everything feels at home being nestled underneath a blanket of Lo-fi production, as Wilhelm’s deep growl rumbles on for eternity.

    Going into track three with Worship, it seems very familiar from the get-go. It starts with a call and response pattern that attempts to be evil. After some chugging, the guitars then go for a more hypnotic rhythm but it doesn’t capture what it sets out to do and sounds undercooked as a result. It refuses to let the song breathe and focus, simply by doing too much at once. The pace does pick up a bit at the back half but it doesn’t save the song, for me Worship is Death Doom 101.

    Next is Leave It Alone, a track that marks a change of pace for the album, leaning into a more Death Metal style with drums that are so loud, they shout out into the void. The song is frantic throughout, like it’s running away from the unknown but that all comes to a crawl by 2:35 where we are presented with watery refrains. The bass shows it’s still alive, hitting after the guitars sing but then almost immediately after a seconds silence, we are thrown back into the same traffic again. The bulk of the song doesn’t change and that slow build up meant nothing.

    Later on we’ve got track seven with Invest In Yourself. This sees a change from old habits as an idea is presented and built upon, sounding complete. The way that all of the instruments move together here has a really good sway to it, it’s like the hero in an action film, walking away from an explosion, it sounds regal. I think that there is a strong Crowbar influence here, it just cuts through you and this is complete with a Death Metal freak out by the end of the track, spider riffs for days! Definitely my favourite song on the record.

    Despite Wilhelm Lindh’s evident prowess, this release remains uneventful. It might call out to classic Doom and Death acts, with a dash of New Orleans Sludge but it doesn’t act upon instinct, neither inventing something new. It commits a sin and that is doing something that most metal fans have heard before.

    The whole experience of Resumption’s The Respite is like stumbling on an apparent old metal demo on YouTube from the late eighties, or early Nineties that was recently uploaded. I am not impressed by this record. 4/10