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ALT BLK ERA have shared another track from their upcoming EP ‘My World’, showcasing their mastery of yet another style of music.

It’s called ‘Lost In The Back Of My Mind’ and feels like it has been pulled from the start of the century. Embodying the attitude and catchiness of throwback RnB and pop with speckles of the modern day thrown in for good measure, it’s a song that demonstrates that there is no limit to what the duo can produce. Sickly sweet and wonderfully addictive, it’s going to be trapped between your ears for the foreseeable.

Nyrobi Beckett-Messam had this to say about the song’s themes, stating, “We’re living in a world where waking up can feel like we’re stepping into a nightmare. That’s why we wrote Lost In The Back of My Mind to capture the haunting feeling of trying to reconnect with lost parts of ourselves while we try to connect with others. We don’t know if what we’re experiencing is a dream, nightmare or reality. Everything feels out of reach and difficult to comprehend so our imagination is a refuge.”

The track is set to appear on the band’s upcoming EP ‘My World’, which will be released on May 22 via LAB Records. It will also feature the previously released ‘Tissues’, which sounds like this:

The duo will also be hitting the road across the UK to celebrate the EP’s release. Here are the dates:

MAY

21 – LONDON Islington Academy
22 – LEEDS The Wardrobe
24 – GLASGOW The Garage (G2)
27 – MANCHESTER The Deaf Institute
29 – BRISTOL Thekla
30 – NOTTINGHAM Rescue Rooms

The post ALT BLK ERA Share Throwback Anthem ‘Lost In The Back Of My Mind’ appeared first on Rock Sound.

After fleeing war and needing a hit to keep their career going, Jinjer struck gold with a simple live video that set the internet alight

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How many of these familiar sights do you remember from visits to Grandma's house? Continue reading…

Southern California garage rock outfit The High Curbs announce their third studio album HIGH SPEED, out May 1 via Lauren Records. Alongside the announcement,

Australian punk outfit OUTTA SPITE are set to unleash their powerful new single We Don’t Need You on April 7. Coming off the back of their previous single, Day Dreamin’, which showcased the band’s evolving sound and growing confidence, We Don’t Need You confronts toxic behaviour head-on and turns pain into defiance. The track captures […]

Splendidula has been carving their place in atmospheric music since 2008, but their new album Absentia arrives after a period of deep loss and upheaval. Reduced to just two original members, the band has poured grief, memory, and resilience into their most personal record yet – and spoke with us about how it all came together.

Hi! Splendidula has been around since 2008, but Absentia comes after a really heavy few years. Losing Peter Chromiak obviously changed the band. How did that loss hit you as a group?
Peter was the best friend of our former guitarist Pieter since childhood, and Pieter is also the brother-in-law of our other former guitarist, David. So they were all very closely connected, and while Peter was alive this dynamic worked perfectly. After Peter’s passing, it became too heavy for Pieter to continue with the band and constantly be reminded of his absence. For David, it also didn’t feel right to carry on under those circumstances. That left Joachim and me as the only remaining members.
We suddenly had to find three new members and even a new rehearsal space in a very short time because of upcoming shows. It was extremely rough trying to keep the band alive during a period of grief.

This album opens a new, very personal chapter for the band. When you look back at your older albums, how does Absentia feel different emotionally?
Our previous albums were sometimes partly written from personal feelings as well, but usually within a certain theme. With Absentia, the entire concept revolves around loss, which makes it our most personal album so far, with very real emotions behind it. That also gives the album much more meaning for us compared to older albums.

Guest contributions from Aaron Stainthorpe and Tim Yatras add extra layers of emotion. How did those collaborations come about?
After one of Aaron’s shows, he walked straight toward us in the venue, it felt like a meant to be moment. We started talking, and the conversation felt so natural that afterwards it made us think about asking him to appear as a guest vocalist. Another important reason was that My Dying Bride’s music was played at the funeral of our dear friend Sven. Even before Peter passed away, we already had the idea of dedicating the album to Sven.
With Tim, the connection started when a show with his band Austere was being arranged and we began talking in the process. Tim invited me to perform guest vocals live for his other band, Germ. Again it felt strangely meant to be. Just like My Dying Bride, Germ appeared more than once in Sven’s farewell playlist, and it was a band he felt deeply connected to. At that point, we simply had to ask Tim to be part of the album and help make the tribute complete.

“Echoes Of Quiet Remain” and “Kilte” are already out for airplay. Do you see those tracks as gateways into the album’s mood, or are they just a slice of a bigger picture?
They show part of the atmosphere, but the album definitely has more layers.
“Echoes Of Quiet Remain” is the song where all the different stories that shaped the album come together. It starts from old riffs that Peter wrote, Aaron’s guest vocals and the link with our friend Sven, and also includes lyrics I wrote shortly after the passing of our beloved cat, Gimli. That loss completely broke me, as he had been my support through all the difficult times, and Joachim and I (we live together) truly saw him as our child. Pieter also recites a poem in the song, as a tribute to Peter, which adds another deeply personal layer to the track.
“Kilte” is the song that best represents the direction we want to take with our music. In terms of atmosphere and genre, this is where we feel most at home. Because the lyrics were written in our own language, it also hits on a much deeper level.
Titles like “Dalkuldar” and “Donkerte” feel almost ritualistic or abstract. How do you choose your track names, and do they always tie back to the lyrics?
Mostly, our track titles tie back to the lyrics. For “Dalkuldar” it was a bit different, it was Sven’s online nickname. I wrote both the keyboard lines and the vocals myself, and it felt right to give the song that title. It also brought me back to my youth, when Sven and I used to listen a lot to atmospheric ’90s black metal albums with keyboard intros like this.
“Donkerte” also started from unfinished riffs by Peter, and he had already given it that name. A very fitting title, as it means “darkness,” the lyrics were built around that concept.

The album is called Absentia. Was that title obvious from the start, or did it only settle after the songs were finished?
The idea for the album title came after a few songs had been written. We were watching the series “Absentia” and really liked the name. Since all our album titles are in Latin, and because the name perfectly fits the album’s theme, it felt like the perfect choice.

The upcoming release show at the former Saint Eligius Church is a very fitting setting. How important was it to you to play in a venue with that kind of vibe?
The idea of doing the release show in a church had been there for years. When Sven passed away during Covid, we couldn’t attend his funeral in person and had to watch it online. Peter’s family was so broken that only close family was allowed to join the funeral. Their passing still feels surreal because we (partly) missed those final moments of goodbye. That’s why it’s important for us to organize our own event as a tribute. We’re not religious and the church is deconsecrated, but we appreciate the gesture of remembering someone in such a beautiful building.

Absentia was created after a long hiatus. Did that break change the way you write songs now, compared to Somnus or the 2024 single Behind My Semblance?
We had already started writing Absentia while Peter was still alive, so I can’t say for certain if the album would have turned out the same without what happened. The long hiatus was mostly due to the time lost from the major lineup change. Since only Joachim and I remained, it did give us the chance to move more in the direction we had always envisioned. We have always had a love for atmospheric black metal, which gradually made its way into Absentia. The songs we are currently writing continue even further in this direction, as all three of us share a strong passion for this genre.

Thematically, this record leans into grief, depression, and loss. Was it hard to put those feelings into music, or did it feel like a necessary outlet?
It was hard, and the lyrics were mostly written through tears. At the same time, it was a kind of therapy for us to translate our feelings into music. We’ve already received a lot of feedback from fans and reviewers saying that they can feel the emotions are real, which adds an extra layer of meaning to the music. We take it as a great compliment that we managed to convey our emotions in a way that feels truly genuine.

Looking back over your career, what do you want Absentia to represent in the story of Splendidula?
A new chapter in the band’s history. It represents a moment of transformation for us: dealing with loss, embracing our own musical direction, and expressing our emotions more openly than ever before. Absentia is the album where all of these experiences come together, marking a turning point both personally and creatively.

For listeners who might be approaching the album for the first time, what should they expect from the journey from start to finish? Thank you for your time!
Listeners can expect an emotional rollercoaster, a journey through all the facets of loss and grief. The album moves between moments of intense sorrow, reflection, and deep depression, taking them through the full spectrum of emotions we experienced while creating it.
Thank you as well for giving us the opportunity to share our story.

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Suzi Quatro, the undisputed Queen of Rock ‘n’ Roll, is back with her nineteenth studio album, Freedom. Known for her no-nonsense attitude, a bass guitar that is almost as big as she is, and her trademark leather jumpsuits, you might think that is all there is to Miss Q [as if that was not enough]. But do not be fooled.

Suzi Quatro – Freedom

Release Date: 27 March 2026

Words: Mark Rotherham

Whether Suzi Quatro is doing albums of cover versions, collaborations with Andy Scott (The Sweet) and Don Powell (Slade), or duets with KT Tunstall, she is an ever-changing musical revelation. So, when I was given Suzi Quatro’s latest album to review, I really did wonder what I would be getting.

It did not take me long to figure it out, and it all came down to one word: blues and Freedom is an absolutely brilliant, whiskey-reeking fireball of blues rock.

It all starts with the title track, old school rock ‘n’ roll complete with a harmonica intro that slaps you around the face like a rawhide saddlebag filled with gold nuggets. As you would expect from someone steeped in Detroit heritage, there are plenty of automobile references.

I am also loving those “the girl can’t help it” backing vocals. This is foot-tapping, feel-good entertainment, along with a dripping, dirty guitar solo that can do no wrong. Feel good? Feel great.

Next up is Little Miss Lovely, guaranteed to get you up on your feet and rocking around your living room from the very first riff. The lyrics certainly do not describe a Little Miss Lovely, and it is everything that good rock ‘n’ roll should be. It’s fast, it does not take itself seriously, and it is all sung with a wink and a smile. If there was ever any doubt that Suzi Q is just as badass as she ever was, doubt no more.

Choose Yourself is a more mellow track, but it follows a similar theme on this album, that of choosing your own road. The lyrics really hit you between the eyes, and the production on this album has that great, basic, garage feel, as though it was recorded in a barn on ’60s equipment. It sounds amazing. In a world of digital perfection, it is an inspired breath of fresh air.

Gutter blues never sounded so good as it does on Goin’ Down. For anyone expecting Suzi Quatro to be glam rock and nothing else, get ready to be amazed, she has got blues blood running through her veins, and setting fire to every one of the twelve bars she chooses to play.

Spoiler alert: Freedom is blues-rock, and nothing else. Bothered? Hell no.

Hanging Over Me is another foot-tapping, whisky-soaked, fast blues jolt of lightning that will burn you up brighter than a Christmas tree. That five o’clock shadow hanging over Suzi has got no chance of beating her down.

One of the things that is so great about this album is the relatability of the lyrics. Each song is telling you something, and you get it straight away.

Here’s Ya Boots is all about showing that particular someone the door, with absolutely no apology or regret. It is a moment that all of us can identify with at least once in our lives, and if you want to know what to say when that time comes, all you gotta do is quote Suzi’s words, and you will be so much happier for it. 

The theme of relationships gone wrong continues with Can’t Let It Go, a slow-hand blues tune that drips anger at an unworthy partner. This is a real cathartic song, getting all of your frustrations out in the open and off your chest.

This album is just chock full of some of the most addictive and driving blues you will ever hear, really proving the point that it does not need to be complicated to be thoroughly entertaining.

If you want a story that’s got Suzi’s personal story all over it, then look no further than Nobody Held My Hand. Single-handed, single-minded determination runs through this song like a diabolical stick of rock forged in hellfire.

It celebrates a hard-won success without any help from anyone else. Like every other song on this album, it gives a powerful message that is impossible to mistake. There are absolutely no pretensions anywhere on this album, and it’s simply a joy to hear.

We would all agree that you cannot be a rock fan without being a bit of a rebel, and so we would all identify with Shakedown, a song about defiance, about calling an injustice out for what it is, and not giving in.

The single-minded blues focus of this album manages to achieve its objective without sounding repetitive, without sounding tired. It is fresh and appealing, while at the same time it is also sleazy and edgy, and that is a very hard mix to achieve. 

When you listen to Take It Or Leave It, you can just imagine Suzi riding into town astride her chopper motorbike. There are no affectations here, no acts and no illusions. Suzi is Suzi, take her as she is, or just walk on by.

And with one eye on Suzi’s upcoming tour, I can tell you that there is not a single song on this album that could not make it to a live set list and set the place on fire.

It has been said time and again that Suzi Quatro has been a real standard bearer for breaking down the barriers for women musicians, and Woman’s Song is an anthem for all women, celebrating everything that is good and great about one half of the world’s population.

The theme of freedom is no clearer than in this song, unapologetically playing it loud and proud for the sisterhood.

When Suzi drops an F bomb, she can even offend Alice Cooper. And that is exactly what happens on Kick Out The Jams, a cover of the MC5 song, duetted with the one and only Alice Cooper. What could possibly go wrong? Nothing, that’s what.

This is a fast-paced version of the original that takes no prisoners. It sits perfectly along the blues tracks found elsewhere on this album, having the same rough, very rough-around-the-edges production. And that is not in any way critical, because it matches the feel of these songs perfectly.

Suzi and Alice are clearly having an absolute ball with this track, a merciless Detroit combination of sleaze and attitude, all in one song. And you knew it, Alice just had to mention school.

The curve ball is saved right til the end, with It All Comes Down To You.

It is a bonus track, and it’s the only one that is not blues at all. It is very eclectic, and if I were to describe it, I would say it’s kind of heavy disco, if there is such a thing. It is very different to everything else on the album, but a very interesting change, not in any way expected. 

So there it is, Freedom, by Suzi Quatro, and it is one full, flaming, sour-mash, double-barrelled injection of some of the most grimy, gain-filled, foot-tapping blues rock that you will ever have the pleasure to hear.

This album will put a smile on your face quicker than being given a pay rise, a permanent vacation and the keys to your own brewery, all at once.

Enjoy.

Suzi Quatro releases Freedom on 27 March 2026. Pre-orders and more details can be found at s.disco.ac/ivqzlfthkmlm.

The post Suzi Quatro Unleashes Freedom – A Dirty, Whiskey-Soaked Blues Rock Blast first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

The Meffs are back with another slab of wonderfully raucous punk, serving as the follow-up to 2024’s ‘What A Life’.

The record is set to be called ‘Business’ and will be released on September 11 via FLG.

The duo had this to say about what the album means to them:

“Business is everything. It’s work, it’s war, it’s politics, it’s our health. Business is angry and ugly, it’s vulnerable and it speaks for all of us. I wanted to make an album that pins you to the wall from start to finish, and that’s what Business does.” 

The artwork looks like this:

And the tracklisiting like this:

1. Dreamin’
2. What A Nightmare
3. Where Did It All Go Wrong?
4. Business
5. Law
6. Fight
7. Disorder (Wake Up)
8. Love To Lose
9. So Modern (Keep Up)
10. God Complex
11. Like Gravity 

The duo are starting as they mean to go on, too, with the release of the title track as the album’s first taster. A crushing blend of spiky riffs and cheeky lyrical turns, it’s a real catalyst for chaos from the get-go. It’s a no-holds-barred look at perception within band life, as much as an outpouring of frustration as a continued reminder to not let anyone change who you are.

The band had this to say about it:

In life you’re told to be your ‘authentic self’, but only if your ‘authentic self’ fits a mould, only if you ‘authentic self’ is on brand. We’re not hard enough but we’re not soft enough, we’re not queer enough but we’re too queer, etc. We’re okay with that; we know who we are and we know what we stand for. ‘Business’ is a love song.”

The post The Meffs Announce New Album ‘Business’ appeared first on Rock Sound.

Following the massive success of February’s “In a Heartbeat,” Philadelphia artist Shaky has officially released his second single,