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As they near the release of their new album Closer To Death, Baltimore’s Unicorn Dogs are back with another sneak preview single. And as the album title suggests, you ought not to expect light songs about frolicking in the park or basking in fairy tale happy endings. What we have here are a couple more dark songs for dark times — delivered with an energy and catchiness that make these bitter pills remarkably easy to swallow. Unicorn Dogs, simply put, are one of the greatest pop-punk bands going these days. I now cease to be surprised any time their next release is even better than their last. On this latest single, they’re not trying to be overly dramatic or deliberately morose. They’re just dishing out a heavy dose of real talk. “Bogus Journey” is an unflinching reflection on living in a modern world characterized by “a dearth of kindness” (an observation that’s on the money, I’m sad to say). The song plays on the timeless “Life’s a bitch, and then you die” theme and notes that no matter how bad things get, they can always get worse. Depending on your perspective, that truth will be either really depressing or oddly comforting. “No one gets out alive” is the song’s refrain, and that’s no lie. 

Well after 20 years, we finally have new music from The Riffs, and somehow this band did not miss a beat! The Riffs, from Portland, Oregon, released three full-length albums and five 7″ records from 1999 through 2006. With their ’77 punk meets gritty street punk meets tough rock ‘n’ roll sound, they were a cornerstone band of two of the best punk rock labels of that period: Pelado Records and TKO Records. And now they’re back on another iconic label, the mighty No Front Teeth Records. The new 7″, “You Doin’ Alright,” is classic Riffs through and through. Why bother turning back the clock to 2003 when you can take it all the way back to 1977 or earlier? The sound here is anthemic, powerful, and timeless. Even if they hadn’t covered “Join the Professionals,” The Professionals would have been one of the most obvious references along side the Sex Pistols, Johnny Thunders & The Heartbreakers, the New York Dolls, Cock Sparrer, and The Boys. What an inspired return! The songs kick ass, and the production is massive (befitting that Jonesy-inspired wall of guitars). You could argue that this rivals the best of The Riffs’ original releases, and it’s a must-purchase for anyone who geeks out over ’77-style punk rock the way I do. Grab your vinyl before it’s gone!

In advance of its forthcoming album Born To Break Even (due out July 31st on Stomp Records), Toronto’s Doghouse Rose has released the title track as a teaser single. “Born To Break Even” is definitely giving me all the ’90s melodic punk feels with a touch of the more polished side of pop-punk. This style and sound are a hit-or-miss thing with me, but man, this song really hits. Sarah Beth on lead vocals has the perfect mix of guts and charm with likeability that’s off the charts. And I love that this is a terrific melodic pop song above all else. You can hear other influences at play beyond ’90s punk. The lyrics are incredibly relatable. The song is about the futility of trying to get ahead in life when setbacks seem to be unavoidable and constant. Just when you think you’re standing tall, something comes along and knocks you down again. “Push and pull till my poor back is breaking/While pretending everything is fine” is a lyric that will resonate with most people. And ultimately, the message of the song is that we have to keep grinding even if break-even is the best-case scenario. What other choice do we have? Born To Break Even will be this veteran band’s first release since 2023’s Unlearn. The vinyl is already up for pre-order on Bandcamp with eco-cherry and eco-lavender color options!

For those who abhor the second-wave of black metal and its worship,¹ Mork’s Monolitt may not be your cup of iced tea. Frosty tremolos, glacial chugs, and biting rasps lurk within, offering a welcome blast of northern darkness as I stare down the barrel of another sweltering Atlanta summer. Established in 2004, Thomas Eriksen’s Mork has been dispensing rime and punishment since debut Isebakke dropped in 2013. Now thirteen years on, Mork unveils eighth slab Monolitt, which radiates icy, blackened ire. As is customary, Eriksen supplies the lion’s share of sounds, though Asgeir Mickelson (ex-Borknagar, ex-Ihsahn) plies the drums while Øyvind Kaslegard (Svart Lotus) contributes additional vocals. Monolitt translates to ‘Monolith’ in English, and though it provides wonderful imagery and is immediately evocative, the name also sells a promise. Can Mork’s Monolitt deliver by embodying a towering manifestation of second-wave mayhem, or will it get buried beneath the permafrost?

Mork’s discography evolves with each release while maintaining a consistency of high-caliber craftsmanship that listeners can rely upon. Early Mork material embraced rawer production featuring buzz-sawing guitars and lo-fi fuzz, and though it blankets those albums in textureless uniformity, interesting ideas and riffs gleam through the static. Over time, Eriksen has refined his approach, finding ways to subtly experiment within the confines of second-wave black metal. In this way, Mork reminds me of Mayhem and Thron, continuously pushing the boundaries of their soundscape to expand their grasp of the genre. To me, 2024’s Syv acts as Mork’s most exploratory album to date, demonstrated by their foray into broader instrumentation as well as the beautiful acoustic and clean-sung finale, “Omme.” Monolitt, on the other hand, recenters the band squarely in second-wave territory, albeit with a smattering of Syv’s less conventional elements.

Given the solid foundation Mork establishes within black metal’s most identifiable form, Monolitt proves to be a bit of a misnomer considering the wealth of diverse ideas within it. Leadoff track “Under Vekten av Verden” kicks off festivities in ferocious fashion, where Mickelson hammers the kit with clockwork rigidity, and Eriksen dispatches wicked licks and riffs that sound like they were pulled from the heart of winter itself. “Ødelagt” begins with the same fury, but by its end decelerates to a funereal crawl. Follow-up “Torden” rejuvenates the pacing with a simple yet exhilarating guitar lead and gusts of peppy drum patterns that never fail to get my head bobbing. Monolitt doesn’t hoard the goodies on the front end, though, as “Inn i en Annen Sfære” and “Jutul” overflow with well-crafted moments applied using a delicate touch, underpinning Mork’s growth as astute songwriters. “Inn i en Annen Sfære” sparkles like ice-capped snow, where crystalline guitars glide through bright, sustained synths as the pacing inevitably propels the song into proper blackened tremolos and Eriksen’s gruff rasp. Similarly, “Utryddelse” employs tempo and mood shifts throughout its runtime that develop riveting dynamics and remind me of Kampfar and newer Mayhem, while “Jutul” uses a dash of clean singing in addition to recalling early Gorgorth’s implementation of faint, understated melody.

The whole of Monolitt is as impressive as the sum of its parts, and on it Mork endeavors to distill their essence even further. The mixing (Børge Finstad) and mastering (Jack Control and Maor Appelbaum) highlight the music wonderfully, giving each instrument ample space and retaining an edge to the tones such that Monolitt never sounds polished or slick. I only wish that the album’s middle was as consistent as its bookends. The tracks I’ve mentioned stand out as grade-A black metal, and though the other songs are good to very good, they don’t quite live up to the heights established at the pinnacle of Monolitt.

Through eight albums, Mork utterly convinces that their creative well runs deep. Monolitt stands tall, a monument to second-wave songwriting that demonstrates further exploration of the style doesn’t have to be stale. While Syv edges Monolitt out as my favorite Mork release, it’s damn close, and more than anything else, I’m left incredibly impressed with the band’s maturation and steadfast output. It’s rare for a band putting out so much material in so short a time to maintain this level of quality, but you better believe this one’s a genuine, bona fide, electrified, nine-track Monolitt. Now say it again, and hop on board!

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Rating: Very Good!
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Peaceville Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

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The Swedish black metal masters Dark Funeral are back with new live album announcement A Beast To Praise. Entitled A Beast To Praise, it will be unleashed upon masses on August 21st through Century Media Records. Recorded live in Stockholm, Sweden in 2022, this music effort gathers 13 apocalyptic tracks across almost 70 minutes of pure devastation.
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Academy Award-winning actor Morgan Freeman has announced the release of Morgan Freeman’s Symphonic Blues Experience, a unique new album arriving August 7 via Decca Records. The 12-track collection combines classic blues recordings with orchestral arrangements, tracing a century of blues history from Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground” to “I Lied to You” from the soundtrack of the film Sinners.

Serving as narrator and producer, Freeman is joined by an impressive lineup that includes Taj Mahal, Keb’ Mo’, Shemekia Copeland, and producer Lawrence “Boo” Mitchell. The project also features a number of Mississippi blues musicians, many of whom regularly perform at Freeman’s Ground Zero Blues Club, which he helped open 25 years ago in Clarksdale, Mississippi.

The album blends performances recorded at Royal Studios in Memphis with orchestral contributions from the Chineke! Orchestra, recorded at Abbey Road Studios in London.

Freeman described the inspiration behind the project by saying, “Rooted in stories carried from West Africa to the American South, the Blues became a testament to the unbroken human spirit, the sound of America’s past and present, and the heartbeat of a culture that refused to be forgotten.”

He added that the album “proves that while the Delta’s fortunes may change, its soul is eternal.”

The album’s first single is a new version of Son House’s classic “Death Letter Blues,” featuring Taj Mahal on vocals and guitar. Originally recorded by Son House in 1965 after his rediscovery during the blues revival, the song remains one of the most powerful and emotionally charged recordings in the Delta blues canon.

For Freeman, the track was the ideal choice to introduce the project.

“I heard the blues for the first time on my grandmother’s porch in the Mississippi Delta, and it has never left me,” Freeman said. “Having Taj Mahal kick off this album with a cover of Son House’s classic ‘Death Letter Blues’ strikes the perfect tone for the introduction of this album. Releasing this on Juneteenth is not just symbolic — it is the truth of where this music comes from and who made it. I hope people listen and remember.”

The new recording pairs Taj Mahal’s performance with orchestral arrangements conducted by Martin Gellner, creating a larger-scale interpretation while maintaining the emotional weight of the original.

Chineke! Orchestra Interim Artistic Director Jonathon Heyward said the project celebrates the enduring impact of the blues while creating new possibilities for the music through orchestral collaboration.

“Symphonic Blues is a celebration of one of the world’s most influential musical traditions and the enduring legacy of the artists who shaped it,” Heyward said. “The blues has always been a profound expression of resilience, humanity, and truth, and bringing this music into conversation with a symphony orchestra creates something both deeply respectful of its roots and boldly expansive in its possibilities.”

He added that Chineke!’s identity as a majority Black and ethnically diverse orchestra brought a unique perspective to the project.

“It has been a privilege to help bring this vision to life, and I hope listeners hear not only the history within this music, but also its continuing power to inspire, connect, and transcend boundaries.”

Decca Records President Laura Monks called the album “a culturally important work” and praised the collective of artists involved in bringing it to audiences worldwide.

Morgan Freeman’s Symphonic Blues Experience Track Listing

1. Dark Was the Night, Cold Was the Ground – Morgan Freeman ft. Keith Johnson
2. Crossroads – Super Chikan
3. Death Letter Blues – Taj Mahal
4. Dust My Broom – Lady Adrena
5. The Thrill Is Gone – Alvin Youngblood Hart
6. Cadillac Assembly Line – Keb’ Mo’
7. Somebody’s Knockin’ – Anthony Big A Sherrod
8. Traveling Riverside Blues – Shemekia Copeland
9. I’ll Take You There – Tiernii Jackson ft. Stax Music Academy Choir
10. Love Me Or Leave Me – Anthony Big A Sherrod
11. Someday – Anthony Big A Sherrod
12. I Lied To You – Keith Johnson

Tour Dates

August 7 – Houston Symphony Orchestra – Houston, TX
September 26 – University of Memphis – Memphis, TN
October 17 – Mississippi Gulf Coast Symphony – Gulfport, MS

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German folk metal operatives Finsterforst have shared the advance second single, “Obduktion”, from their forthcoming long player Still.
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