Bequem‘s Coffee Jazz is a smooth, jazzy instrumental hip-hop cut that thrives on laid-back grooves and effortless cool. Warm keys, soft drum patterns, and subtle melodic flourishes create a cozy, late-night atmosphere—perfectly living up to its title. The track leans into classic jazz-rap sensibilities, blending swing and hip-hop rhythm with a relaxed, almost lo-fi feel.
There’s no rush here—just a steady, head-nodding flow that invites you to unwind. Coffee Jazz is all about mood, offering a mellow, feel-good soundscape ideal for quiet moments and easy listening.
OVER 25 DATES SCHEDULED IN CELEBRATION OF THE BAND’S ICONIC SINGLE
Rock Legends The Angels are hitting the road in June to mark the 50th anniversary of their debut track, Am I Ever Gonna See Your Face Again, a song that is an indelible part of the Australian culture.
Kicking off in Queensland, dates have been booked for capital cities and key regional centres across New South Wales, Victoria, Tasmania and Western Australia. The tour will appropriately conclude in the band’s beloved, original hometown of Adelaide in early November.
Instantly recognised by its famous ambulance siren guitar riff and released in 1976, Am I Ever Gonna See Your Face Again was originally produced by Harry Vanda and George Young (of The Easybeats) and was written by current, original band members, brothers John and Rick Brewster and the late Doc Neeson. Further re-recordings followed until a live version of the track was released in 1988 reaching #11 on the charts.
In recent times, the single notably came in at #12 on Triple J’s Hottest 100 of Australian Songs in July 2025 and was the oldest title in the Top 40. “We were blown away when the song ranked so highly.” John Brewster explains.
The classic has also been honoured with covers by Dune Rats and Ruby Fields for Triple J’s famous segment, Like A Versionwith John and Rick Brewster happily obliging to the band’s invitation to feature on the recording in 2023. New York garage rockers Baby Shakes also released a cover of the single with an accompanying video in 2020.
“The song just seems to get bigger every year.” John Brewster smiles.
International touring artists Metallica, Keith Urban and Jelly Roll payed homage with live versions of the song across their respective sold-out tours in 2025, thrilling local audiences who were more than happy to oblige for the famous single’s expletive-laden call and response!
Even our Prime Minister Anthony Albanese loves it declaring, “There’s no better sing-along than Am I Ever Gonna See Your Face Again by The Angels,” during the 2025 election campaign.
The infamous chant was first encountered at a gig in Mount Isa in 1983. “We had actually dropped the song from our set,” John reveals. “But at the Isa gig, the crowd was going off and kept demanding encores. Backstage, we looked at each other and said, ‘What are we going to play?’”
When they hit the chorus, the band was greeted by the chant. After the gig, Doc Neeson grabbed a guy in the crowd and asked what was going on. He explained that he and his mates had attended a police Blue Light Disco in Fairfield in Sydney, where the DJ would stop the song and the crowd would yell the response. “So, in a way,” Doc reflected, “we have the police to thank. It’s amazing that it spread from just one disco.”
Over the years, many people have claimed to be the instigators of the chant, so its exact origins remain a mystery. “What we do know is the band had nothing to do with the chant,” Rick Brewster adds. “And we love that – it’s something that the audience has given us.”
In the UK, ex-pats will play the song at a pub so they can find other Australians. “It’s like an Aussie mating call,” the late-great Doc Neeson observed.
Despite becoming an Aussie anthem, the song actually has a tragic backstory. It was written after the girlfriend of the band’s first manager John Woodruff was killed in a motorbike accident. Her death had the band pondering the hereafter. “Can’t stop the memory that goes climbing through my brain/ I get no answer, so the question still remains: Am I ever gonna see your face again?”
“Fifty years on, the song still has so much meaning for us,” John Brewster says. “When we play the song, we’re thinking about all the people we’ve lost, like Doc and Chris Bailey. And all the people that we’ve played with over the years. And all the roadies, the tour managers, the record company people, our friends and, of course, all the fans.
“I’m reminded of Don Lane’s famous signoff: ‘I love your faces.’
“Am I Ever Gonna See Your Face Again is a song about – and for – everyone.”
Scriptures captures emo rap at its most fluid and introspective, balancing vulnerability with a laid-back, immersive vibe. The production leans on soft, atmospheric textures and mellow beats, giving both artists space to deliver emotionally charged verses without feeling heavy-handed. CH4RGN and Skarlow trade lines with a natural chemistry, blending reflective lyricism with understated melodies that linger.
There’s a calm, almost hypnotic flow to the track, where emotion builds subtly rather than exploding. Scriptures stands out for its restraint—keeping things chill, honest, and effortlessly engaging from start to finish.
Los Angeles extreme-metal shapeshifters Ashen Horde return on May 1st, 2026, with "The Harvest," their fifth full-length album and the first to feature new vocalist Karl Chamberlain (Putrefier, Alcyone, Necrotic Remains). Known for weaving black metal, death metal, prog, and 90s-inspired grit into something unmistakably their own, Ashen Horde push … Read More/Discuss on Metal Underground.com
Just weeks after chart-topping modern metal powerhouse Jinjer wrapped up their massively successful European headliner tour, the band now announces their return to North America. Summer 2026 will see Jinjer embark on their first North American headline run since 2024, hitting 37 cities across the United States and Canada, with Crystal Lake and Enth… Read More/Discuss on Metal Underground.com
Following the fierce comeback statement "Black Matter Manifesto," Samael unveils "Hidden Empire," the second track featured on their upcoming limited 12" maxi single vinyl, arriving April 24, 2026 via Napalm Records mailorder and the band’s official shop.
The new song explores the unseen structures shaping modern existence, translating its dark … Read More/Discuss on Metal Underground.com
Back in 1980, speed metal landed in mainland Europe and in the unlikely location of Bruges in Belgium. One of if not the first European speed metal bands, Acid, was born and released a run of three albums – “Acid”, “Maniac” and “Engine Beast” – between 1983 and 1985. Unfortunately Acid disbanded in 1985 but cemented their legacy and cult status as one of those influential yet long forgotten metal acts from the 1980’s. Legacy, influence and cult status are defining factors within the metal world and in 2019 Acid returned from the dead but with only singer Kate De Lombaert and drummer Anvill returning from the original line up. Unfortunately this version of Acid did not last with Kate going her own separate way and forming her own iteration of the band – Kate’s Acid – performing at Keep It True Festival in Germany in 2021 and 2023 with the latter performance captured for the live album “Blowing Your Ears Off”. Kate “wanted to make a new studio album for a very long time, but did not find the right musicians” but in 2026 the Acid legacy finally continues with new album “Hellbender”.
“Hellbender” dives straight back into that 1980’s heavy metal sound with speed and power mixing alongside strong melodies and catchy hooks. Songs such as the title track, ‘The Lightning Conductor’, ‘Do Not Burn The Witch’ and ‘Valkyrie’ are on the speedier side and gallop along with power and fury whilst ‘Taking Back My Wings’, ‘Riding Out’ and ‘Stormchaser’ are muscular and anthemic old school heavy metal. ‘Buccaneers’ is a bit more on the hard rock side of things whilst the album finishes in a softer style with ‘Air Raid’ which is something a bit different for Acid. Whilst Kate may be the only one from the original Acid days, she has assembled a fine bunch of musicians to carry forth her vision. Geert Annys is on guitar, Camilo ‘Thunder Screamer’ Ortega on bass and Ash on drums and they perfectly compliment the powerhouse vocals of Kate who sounds just as good as she did 40 years ago.
“Hellbender” doesn’t reinvent the steel in any way and, aside from a modern production, is a definite callback to the heavy metal of the 1980’s. This still slaps though and is a great bunch of songs guaranteed to please those who appreciate the classic metal sound. Whether you regard this as a continuation of Acid or a new band featuring the former singer, “Hellbender” is a great 37 minutes of fist pumping heavy metal goodness.
History has a way of arriving late, wearing a better coat than expected, speaking more clearly than it ever did the first time around. Post-punk had to persist through an era that preferred certainties, big choruses, tidy myths, and the reassuring repetition of power. It waited while innovation was treated as an inconvenience, while openness shrank under the long shadow of Thatcher and Reagan. The genre’s sharp ideas survived anyway, underground, uncredited, misfiled. Time did its quiet work. The record racks rearranged themselves. Former underdogs rewrote the syllabus. Suddenly, nobody remembers when Styx towered over The Cure…and that’s being polite.
You would think the excavation was finished by now, the maps redrawn, the vaults emptied. We would have said as much confidently until recently, when a lost band called Entracte resurfaced.
The group developed within the orbit of Manchester’s fertile post-punk scene in the late 1980s, recording a substantial body of material that, for reasons still half-buried in the usual chaos of band life, never saw release at the time. Much of Entracte’s history remains tangled in comings and goings, but the core of the band centered around guitarist Alberto Umbridge, vocalist Sharon Quinn, and drummer Graham “Dids” Dowdall. If Umbridge’s name rings a bell, it may be because he was also the conduit through which Tiny Global Productions earlier unveiled the debut collection of lost studio recordings by ex-Siouxsie and the Banshees guitarist John McKay.
That silence has now been broken by Imbalance, released by Tiny Global Productions: an album-length CD paired with an A5 booklet of lyrics, history, and artwork. The release also carries a contribution from Linder Sterling, whose image Irina, a striking 1930s-inspired piece, fronts the package. The connection is not incidental. Dowdall, who passed away last year, played with Ludus, the avant-garde project Linder founded, and his long career also included work with Nico, Cabaret Voltaire, Pere Ubu, and John McKay.
There is no tidy legend waiting to be dusted off here, no ready-made mythology polished for reissue culture. But the missing paper trail only sharpens the intrigue. Entracte recorded roughly thirty songs across the late ’80s, and what survives feels both assured and strangely untouched. The band experimented with a wide range of rhythms and textures, likely absorbing some of the period’s expanding access to African and Middle Eastern musical forms. You can hear that openness in the songs: guitar lines that hint at highlife, patterns that bend away from rock orthodoxy, and arrangements alert to movement rather than mere mood.
What makes Imbalance so arresting is not simply that it exists, but that it arrives so fully formed. The record carries world-weariness without sinking into grey habit. Bowie and Kraftwerk hover somewhere in the background, particularly in the poised, slightly futuristic tension of the arrangements, but Entracte never feels derivative. Their music suggests a wider listening life, one shaped by the art, personalities, and collisions that made Manchester such a vital breeding ground at the time. It belongs to that moment, certainly, yet it also slips past it.
Umbridge himself puts it plainly: “I dug out the tapes and began listening, I was shocked. The more I heard, the more I realised our material was indeed as I’d once imagined, and it did stand the test of time.”
It is easy to understand that surprise. The band’s range feels unusually wide, their focus unusually steady. The ideas stretch across territories associated with Siouxsie and the Banshees, Magazine, Malaria!, and The Sound, without collapsing into homage. There is a shared discipline closer in spirit to the restraint of Young Marble Giants or the precision of Wire, a sense of a private post-punk language worked out in full. Even cult favourites like The Chameleons or The Passions can seem narrower by comparison; Entracte’s palette covers more ground, and does so with a rare combination of immediacy, charm, and formal curiosity.
These recordings were made on limited means, yet they arrive fully intact, their ideas unembarrassed by age. Sharon Quinn sings with clarity and presence, never overplaying the songs’ emotional intelligence. Umbridge’s guitar finds light in unexpected places. Dowdall, meanwhile, anchors the material with a restless, responsive intelligence that helps explain why the record never settles into any one school or formula for too long.
Perhaps being shelved for a few decades is part of the appeal now. Imbalance arrives without inherited hype, without nostalgia demanding obedience. It sounds new because its ideas remain generous and open, and because so much of what once slipped past the official story now returns with greater force. This is not merely a curio rescued from storage. It feels like a genuine correction.
And there is more to come. Tiny Global is already at work on a second volume, suggesting that Entracte were not a minor footnote but a body of work substantial enough to keep unfolding. For a band that left no public trace for decades, that feels less like an archival afterthought than the beginning of a belated life.
This is an astonishing recovery: a truly lost band, invisible for nearly four decades, resurfacing intact and strangely ahead of schedule. Dare we say it: a new cult favourite, arriving from the past.
Listen to Imbalance below and order the albumhere.
International Mesopotamian metal pioneers MELECHESH have unveiled their new single, “In Shadows, In Light,” taken from the band’s forthcoming digital EP Sentinels Of Shamash, scheduled for release on April 10th via Reigning Phoenix Music.
“In Shadows, In Light” continues MELECHESH’s tradition of weaving esoteric philosophy, ancient symbolism, and relentless sonic power into a singular musical experience. The track explores hidden cosmic knowledge and the subtle forces shaping perception and reality.
Speaking about the song, the band comments:
“‘In Shadows, In Light’ explores cosmic knowledge hidden in plain sight – parallel dimensions, sacred geometry, and veiled currents of existence revealed only through perception. Drawing on esoteric and Kabalistic thought, the song moves between concealment and revelation.
Structured as a journey with shifting acts and moods, it unfolds through tension, release, and transformation. Each passage reveals another layer of vision, where shadow and illumination coexist, and the unseen becomes ‘felt’ rather than explained.”
Musically, the track embodies MELECHESH’s hallmark fusion of blackened thrash, Middle Eastern scales, and hypnotic rhythmic patterns, guiding listeners through an evolving sonic landscape that mirrors the song’s philosophical themes. From atmospheric passages to ferocious riffs, “In Shadows, In Light” reflects the band’s ongoing exploration of myth, mysticism, and consciousness.
“In Shadows, In Light” was produced by Ashmedi and co-produced by Rob Caggiano and Kristian “Kohle” Kohlmannslehner. Bass lines and backing vocals on “In Shadows, In Light” were recorded by Rob Caggiano, who also contributed rearrangements. Drums were performed by Nikitas Mandolas, with engineering and mixing and mastering by Kristian “Kohle” Kohlmannslehner, and engineering and tracking by Daniel Claar.
Sentinels Of Shamash, stands as a ceremonial descent into ancient law, fire, and cosmic vigilance. Drawing from Mesopotamian myth and the solar judgment of Shamash, god of truth and justice, MELECHESH crafts an offering steeped in divine wrath and esoteric order. Each composition unfolds like a sacred inscription, invoking forgotten gods, fallen kings, and the eternal tension between chaos and balance.
Through commanding riffs, relentless rhythms, and a sonic architecture that bridges ancient cosmology with modern extremity, Sentinels Of Shamash delivers a mythological statement rooted in fire, judgment, ruin, and restoration. The sentinels stand eternal guard over fate itself.
