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  • Scottish Rock N Rollers Kelowna Detail Debut Album & New Single

    Fast rising Scottish rock band Kelowna will release their debut album, Superstar, everywhere on Friday 28th August. Ahead of this, the band have released their enticing new single and video, Insanity, out now. Listen to the band – here Formed in early 2024 in Scotland, Kelowna came together through a shared love of rock and […]

    The post Scottish Rock N Rollers Kelowna Detail Debut Album & New Single appeared first on ROCKPOSER DOT COM.

  • Listening Now : Clyde the Band – S.O.L

    Clyde the Band’s S.O.L transforms heartbreak into a sweeping indie rock statement, balancing raw emotional honesty with cinematic ambition. Built around aching guitars, soaring melodies, and richly textured strings, the track captures the restless uncertainty that follows unrequited love and emotional loss. Rather than drowning in self-pity, the song channels vulnerability into catharsis, allowing its confessional lyrics to unfold against an increasingly expansive backdrop. The interplay between intimate storytelling and widescreen instrumentation gives S.O.L a powerful emotional pull, evoking the feeling of a solitary late-night drive where every passing streetlight seems tied to a memory. Honest, melodic, and deeply affecting, the track stands as one of Clyde the Band’s most compelling and emotionally resonant releases to date.

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  • Heathen – Announce North American Headline Shows

    Following their North American shows with Metal Church next month, Bay Area thrashers Heathen will continue touring run with several headline shows.
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  • Listening Now : Gejo – Callous

    Gejo’s Callous is an indie folk standout that balances rustic charm with an invigorating sense of momentum. Built around intricate acoustic fingerpicking, warm upright bass lines, and emotionally charged vocals, the track expands the genre’s traditional boundaries without losing its organic heart. While retaining the reflective spirit that defines Gejo’s songwriting, Callous introduces a more energetic and defiant edge, creating a compelling contrast between intimacy and drive. The song’s rich instrumentation and raw authenticity give it an enduring appeal, while its melodic strength ensures it lingers long after the final note. Thoughtful, spirited, and beautifully crafted, Callous is a memorable addition to the contemporary indie-folk landscape.

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  • Boundaries – ‘May This Pain Never Leave’ Track Unveiled

    One month prior the release of their Yearning: The Unbeautiful After album, Connecticut-based formation Boundaries offer in listening another new track called “May This Pain Never Leave”.
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  • Review: Liminal Sky – All Tomorrows Darkness By Rick Eaglestone

    Liminal Sky – All Tomorrows Darkness (Karisma Records) [Rick Eaglestone]



    Some albums arrive with the weight of lived experience so palpable you feel it before the first note has fully sounded. All Tomorrow’s Darkness, the debut record from Liminal Sky, is one of those albums. It does not ask for your attention so much as quietly command it, drawing you into a sound that is vast, still, and saturated with the kind of grief that does not resolve — only changes shape over time.

    The darkness named in the title is not metaphorical. It is the specific, inescapable darkness of losing someone suddenly, or gradually, or both at once.

    The album opens with Some Other Time, the first single, a song written in the shadow of two kinds of loss running simultaneously, one sudden, one slow. McNerney’s vocal performance sets the tone immediately: this is not the tortured expressionism of extreme music, nor the confessional rawness of singer-songwriter territory. It occupies a more unsettled, indeterminate space, grief rendered as atmosphere rather than statement.

    A Solitary Future introduces Kristoffer Rygg to proceedings, and the fit is intuitive. There is something in the Ulver vocalist’s delivery that has always suggested enormous distance — the sense of someone observing suffering from within it, simultaneously inside the emotion and removed from it. That quality serves the track’s exploration of mental solitude and the inability to outrun one’s own mind with quiet devastating effect.

    In Some Secret Universe marks the album deepening into its own atmosphere. The arrangement here is more expansive, guitars building through patient repetition toward a climax that earns its emotional release precisely because it has been held back long enough. 

    McNerney’s lyrical instincts are at their strongest in this middle section of the record his words articulating interior states that resist ordinary language, the album’s thematic concern with memory, dissolution and presence rendered in lines that resonate without over-explaining themselves.

    Forget Me Not carries its title’s weight openly. Whether read as a flower, a plea, or a command, the phrase contains within it the central anxiety of watching someone’s memory and identity disappear. McNerney inhabits that ambiguity with care, and the music around him characteristically unhurried, Gomez and Knight resisting the temptation to dramatize when restraint serves better provides the space for the words to land at full weight. It is one of the album’s most quietly devastating moments.

    Penance brings Årabrot’s Karin Park into the fold, and the effect is immediate and galvanising. Where McNerney and Rygg move through the album with a kind of sustained control, Park’s contribution carries a more physical, embodied quality the sense of someone for whom expression is an act rather than a statement. The track shifts the album’s emotional register perceptibly, introducing a harder, rawer edge that makes the surrounding stillness feel even more present by contrast.

    The Weight Of Heaven sees Rygg return, the pairing of his voice with the album’s most explicitly spiritual subject matter feeling entirely right. There is something about the way the track holds its harmonic tension without resolving it that captures the particular anguish of faith under pressure — the weight of the title an unmistakeable double meaning, heaven here as burden as much as aspiration. Alongside A Solitary Future, it represents Rygg’s finest work in a guest context.

    Algebra Of Unknowing is the album’s most structurally ambitious piece it’s a track that moves through several distinct phases without ever feeling fragmented, the transitions managed with a fluency that speaks to Gomez Arellano’s production intelligence and Knight’s compositional instincts. The title itself is one of the album’s most resonant images: grief as an equation with no fixed solution, the variables shifting each time you think you’ve arrived at an answer. McNerney’s words here are among his finest on the record.

    Oar On The Mooring offers something like stillness before the final movement. An image of suspension, the oar placed but not yet used, the vessel held but not yet committed to departure the track captures the paralysis that profound grief can induce with a musical patience that mirrors its subject exactly. It is not a quiet track so much as a suspended one, held in a moment of not-yet, and the effect is quietly extraordinary.

    The title track closes the album, and it does so with the particular gravity of something that understands what it is concluding. O’Sullivan’s contribution alongside McNerney gives the track a quality of dialogue two voices moving through the same darkness from different positions, neither offering the other resolution, both sustaining a presence through the final minutes of a record that has earned the right to close on ambiguity rather than false comfort.

    All Tomorrow’s Darkness is a debut album in name only. In every other sense it is a fully realised work from musicians who have served long enough in difficult terrain to know precisely what they are doing and why. Gomez Arellano and Knight have built something here that is genuinely rare: an album that processes grief without exploiting it, that achieves beauty without prettifying pain, and that assembles an extraordinary cast of collaborators without losing its own coherent voice in the process.

    This is not easy listening. It is not intended to be. But for those willing to sit with it — to let the album’s slow architecture do its work without rushing toward the exit.

    All Tomorrow’s Darkness is one of the most moving and meticulously crafted records to emerge from the heavy music adjacent world this year. A landmark debut, and a deeply human document. 9/10

  • Save Us Announce Debut Album ‘Death To Something’

    Save Us have revealed the details of their debut album,  produced by The Plot In You‘s Landon Tewers.

    Photo credit: Alex Bemis

    Titled ‘Death To Something’, it’s set for release on October 16 via Solid State Records.

    The record features the previously released single ‘Bruised’, and also the freshly dropped title track. Serving as a statement of intent from the transcontinental trio, it’s a gorgeously poignant cut, blending crushing heaviness with irresistable melodies and an emotional message that tugs on the heartstrings.

    Speaking about the track, vocalist Miguel Owls has shared:

    “’Death To Something’ was the last song we wrote with Landon, and it ended up giving the record its name. Lyrically, it was inspired by my newborn son,” says Owls. “The message is simple but powerful: Sometimes there has to be a death to your old life in order to build a better one for the people you love. On this track, I dive into the struggles and hardships of my past, and how I had to finally cut the ties that kept weighing me down. It’s raw, personal, and honestly one of the most meaningful songs I’ve ever written.”

    Take a look at the album’s artwork and full tracklisting below:


    1) Chains
    2) Last Of Me
    3) Mente Fragmentada
    4) No Holding Back
    5) Seraphim
    6) Far
    7) Runaway
    8) Bruised
    9) Cry
    10) Numb
    11) Death To Something
    12) Stasis

    The post Save Us Announce Debut Album ‘Death To Something’ appeared first on Rock Sound.

  • Viking metal pioneers Einherjer return with tenth studio album Lifeblood

    Legendary metal pioneers Einherjer have officially released their long-awaited tenth studio album, Lifeblood, via By Norse Music. Marking over thirty years of musical output, the record explores deep thematic reflections around belonging, personal heritage, and foundational roots, looking back toward the primordial forces that initially shaped their creative path. To celebrate the release, the band … Continue reading Viking metal pioneers Einherjer return with tenth studio album Lifeblood

  • Lovestruck – Let The Sunshine Burn


    Let the Sunshine Burn is the new 2026 EP from Lovestruck. “We tried to take this EP in a more alternative direction compared to our sleazy ’80s roots,” says the band, adding that it’s inspired by artists like Deftones, Queens of the Stone Age, and Muse. This is their third work after an album and an EP.

    It comprises of 4 songs for 15 minutes of music. Completely Out of Control is what the title suggests: frantic and messy, with guitars working amazingly together, fantastic drumming, and a lot of quality. This is my favourite song on the EP, and you can find it on the Rock Rotation (click on this link) Given to rock playlist. I love the riffs, the tasty solos and the mood of the song. Fake It Till You Make and the title track Let The Sunshine Burn are pure 80s hard rock, with catchy riffs and vocals and with fantastic solo sections. One for the Road reminds me of 90s grunge, and it’s got Alice in Chains vibes (at least to my ears) and the usual inspired guitar (I love the bass part in the middle of the song).

    Let The Sunshine Burn is a very cool EP, with lots of contamination and overall amazingly written and performed by the band. Give it a go by clicking on the Spotify player below and follow Lovestruck if you like what you hear.

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  • Listening Now : The Big East – Cruel Morning

    The Big East’s Cruel Morning is a compelling blend of indie rock urgency and heartland americana grit, pairing raw lyrical honesty with an undeniably memorable melodic punch. Built around a surging chorus and grounded in themes of excess, regret, and self-reflection, the track captures the familiar haze of mornings spent reckoning with the night before. Country-tinged textures subtly weave through the arrangement, adding warmth and character to the song’s driving indie-rock foundation. The result is both deeply personal and universally relatable, balancing vulnerability with anthemic energy. Perfectly suited for late-night drives and golden-hour contemplation, Cruel Morning delivers emotional resonance without sacrificing its infectious momentum.

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