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For the two-time Grammy Award winner Tyler Bryant, the spontaneous creation of “Screwed & Tattooed” represents exactly what he envisioned when building his own studio space, a place where inspiration can be captured in real time. He has long favoured recordings that preserve the immediacy of a moment, valuing authenticity and human connection above polish, an approach he feels is more vital than ever in an increasingly AI era.

Tyler says, “It’s not everyday that you get to make up a tune with a hero. As a Texan, I grew up on Rodney Crowell’s records. My early blues explorations landed 15-year-old me at a party in California where I met Rodney for the first time. I had no idea then that, 19 years later, I’d be producing an album for him. At the tail end of making Rodney’s latest album, ‘Airline Highway,’ we found ourselves sitting in my studio with a couple of acoustic guitars. We both have a deep appreciation for low down dirty blues and when my right thumb started riding the A string of my old Kalamazoo acoustic, Rodney started spitting out lines. We laughed this song into existence.
 
My friends came over the next afternoon to jam and I pulled out this idea. It was recorded less than an hour later. This is precisely the magic I hoped my studio would inspire for me and other artists. I’ve always been drawn to “in the moment” captures when it comes to recording. Especially now that we have AI breathing down our necks… It’s time to be as real as humanly possible.”

After years at the helm of Tyler Bryant & The Shakedown, Bryant is now forging a distinct path as a solo artist. Releasing music independently has given him the freedom to follow his creative instincts. Bryant describes this chapter as intuitive, unfiltered, and entirely self-directed.

Screwed & Tattooed is OUT NOW on all digital platforms
https://linktr.ee/TylerBryantMusic

Official Website
www.tylerbryantmusic.com

The post TYLER BRYANT Releases His Fifth Solo Single, “Screwed & Tattooed,” Alongside An Official Music Video appeared first on The Rockpit.

One of the biggest challenges I’ve encountered as a music reviewer is trying to describe a band’s musical aesthetic when their discography is all over the place. Now, I know what you’re thinking: Blut Aus Nord, and you would be correct, but at least there’s an intangible thread connecting the various gnarled branches to their undulating, pulsing roots. Vaarwel, the mastermind and sole proprietor of Russia’s Frozen Ocean, takes his project to where it needs to be, and how he feels it should be delivered, musically. Over the course of 11 albums, as well as various EPs and splits, Frozen Ocean follows their own muse, without any musical correlation between them. It’s a big toss-up what you’re going to get per release, and I can’t help but respect the hell out of that.

I just wish it connected with me as well as The Prowess of Dormition did. Whereas Dormition was melodic black metal with a trip-hop undercurrent, Askdrömmar instead flirts with DSBM, rubbing shoulders with a trippier Lifelover bent. Opener “Mangata” leads off with some ambiance before a simple repeated melody takes over, followed by simplistic programmed drums, and finally other instrumentation. Vaarwel adopts more of a black metal rasp this time around, and just as the song starts to go somewhere, everything fades out, and you hear a sample of a young woman talking. Believing this would build to something, it instead leads into “Bortkastade dödsrunor,” the following track… which leads off with another sample.

The majority of what follows is a “wash-rinse-repeat” cycle among the remaining eight tracks, as they all follow a particular pattern: either a sample or piano twinkling, followed by a riff that’s more than a little reminiscent of mid-era Katatonia (“Kottkvam”), an atmospheric moment that sounds like a tremendous build-up that only goes back to the main riff, and then a sudden ending. Things start to get interesting when “Långt lopp genom mörkret” arrives, with its hyperactive keyboards and lively, energetic rhythms, but that’s track #8 of a nine-track album, and that’s just too far in the tracklisting to turn the ship around. Up until then, it’s just too formulaic and repetitive to leave a lasting mark.

The production also doesn’t help matters any, as it’s squashed and flat. The programmed drums sound like they were mixed a bit too far back, whereas the guitars, keyboards, and vocals are in-your-face, and those sound compressed within an inch of their existences. The biggest hurdle of this album lies in its conception and how it ties in with the Frozen Ocean discography. As a fan of Blut Aus Nord, I know mainman Vindsval will write whatever the fuck he feels like, and because of that, BaN’s discography runs the gamut of sounds and styles. However, the big difference is that you can still hear it’s BaN. Vaarwel doesn’t quite have that distinction when it comes to his music, as his releases are so spread out style- and quality-wise that it’s tough to find an underlying thread connecting any of it.

And that sucks to type, because I remember being impressed by The Prowess of Dormition when it released almost a decade ago. While I wasn’t expecting a repeat of that EP, I also wasn’t expecting to be bored by what’s on offer here. Vaarwel is a talented musician with great ideas, but I’m waiting for those ideas to land. With Askdrömmar, I will continue waiting.

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Rating: 2.0/5.0
DR: 7 | Format Reviewed: 319 kbps mp3
Label: Apocalyptic Witchcraft
Websites: Bandcamp | Facebook
Releases Worldwide: February 13th, 2026

The post Frozen Ocean – Askdrömmar Review appeared first on Angry Metal Guy.

Hardcore punk rock bands sprouted up everywhere across the country in the early 1980s. While we celebrate the bands that broke through, we often overlook the smaller ones that were revered in their own region. One of those bands is Hated Youth. John Oliver Hodges, the guitarist for Hated Youth, has written a book about his experience in the band and growing up in Florida, titled Kill the Punks: A Hated Youth Memoir. Two hundred pages of mayhem, music, and memories guaranteed to make you laugh and squirm.

Hodge’s book leans into the “youth” of Hated Youth more than anything, and that’s where it finds its real pulse. While not as big as some of the bands worshipped at the punk rock altar, Hated Youth had their time in the sun. Hodges details his adolescence as a stoner-metal kid getting in trouble and being sent to the principal’s office. Eventually, he is sent to the School of Analytical Reasoning, a hippie high school, as Hodges would describe it. This is where he meets his future bandmate Eric and transforms into a mohawked punk rocker.

Adolescent mythology walks a fine line between the experimentation of extremes and the embracing of familiar norms. While his friendship with bass player Eric had flourished, John was sometimes a third wheel to Eric and his girlfriend Lucia as they pushed their own boundaries. These adventures, punctuated with multiple screenings of the movie The Road Warrior, give the book a cinematic and feral energy. Despite varying degrees of intensity, the activities aren’t so different from other generations of kids growing up.

A lot of stories recounting the origins of bands coming together start to fall into the same tropes. What makes them great is the presentation. Hodge’s writing is accessible. It moves fast and keeps the reader locked in. There were many times I didn’t want to put the book down. Hodges’ memories are super clear, and the story itself is compelling. While the band may be the catalyst, the real jolts come from the tales in between the shows.

At this point, many punk rockers have told their stories about how they got into punk. Each of these stories is different but shares the same emotional weight in terms of what it meant to them and how it shaped their lives. Hodges’ book still manages to stick out. Kill The Punks: A Hated Youth Memoir feels much more personal than other books about youth and punk rock. The writing is raw and feels closer to something like Henry Rollins’s Get in the Van. The advantage here is that Hodges has many more years of writing under his belt, and it shows.

As if the book wasn’t enough, you can see the Tallahassee Pioneers of Punk from March 5th to March 8th. The exhibition celebrating the underground scene will be on display at 621 Gallery. There will be sets from some bands of the Tallahassee scene playing at the Bark. Bands like Persian Gulf, Insect Fear, Hated Youth, Silly Wabbit, and Frankenfinger will all be playing sets.

In the meantime, you can get Kill The Punks: A Hated Youth Memoir by John Oliver Hodges in either paperback or ebook from Amazon.

With her sights set on a March 5 release for her independent new solo EP ‘REBIRTH’, singer and songwriter CHLOE TRUJILLO has unveiled the final video for “Lies” from the collection.

CHLOE says the haunting and sonically heavy Middle Eastern-tinged track “is all about letting go of those lies we tell ourselves, freeing the ego, limiting beliefs, control, old identities and opening up to receive a higher truth. True spiritual insight comes from piercing beyond illusions, our own and the worlds or society’s and shedding old layers to reveal our truth.”

CHLOE teamed up with producer Alejandro Ordonez and Raubtier Productions (she previously worked with the team for her “Path” video) for the clip’s direction. To fully capture the authenticity of the magical ritualistic moment around the fire which further enhances the song’s message, the video highlights two native dancers, Ba’ac Garcia and M.Baaker.

“Lies” follows the album’s first single, the soulfully expressive metal song “As the Sky is Falling Down.” The track’s ominous guitar underscores the Paris-born and Los Angeles-based artist’s moving and haunting delivery. The delicate hum gives way to a trudging groove, and CHLOE proclaims, “As the sky is falling down, I stand tall, wreckage all around, but I won’t fall.”  Her spoken word transfixes over the turbulent bridge. Listen to the song HERE and watch the video, which includes dramatic scenes of CHLOE shot at the ocean, HERE.

REBIRTH evokes the sound of change out loud. You can hear the past being shed, the present being seized, and the future being manifested through her spirited conjurations of soulfully expressive metal.  CHLOE carefully crafted what would become REBIRTH throughout 2024 and 2025. Her song writing process is ongoing and ever evolving. When choosing the songs for the new EP, she says, “I have a stash of hundreds of songs waiting to be properly recorded, so for this EP I selected four of those to finish. I already have another 6 or 7 in mind for my next release.” Following writing, she teamed up with producer Jake Carmona to bring it to life in the studio.

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The post CHLOE TRUJILLO Releases Video For “Lies” From Her Independent New EP ‘Rebirth’ Out March 5 appeared first on The Rockpit.

Metallica are one of the big four for good reason – meaning, we’re spoiled for choice for the best deep cuts of their discography.

The post The Best METALLICA Deep Cuts From Every Album appeared first on Metal Injection.

Country-rock standout Kasey Tyndall joins forces with platinum-selling rock band Pop Evil for the powerful new single, “Maybe You’re The One.” The track delivers a soaring call-and-response rock ballad driven by grit, emotion, and arena-ready energy.

Pop Evil’s Leigh Kakaty had most of the song written, but wanted to partner with a female country artist who shared the song’s vision. With Pop Evil and Tyndall already labelmates, the partnership came together naturally. The artists met in Nashville last fall to record the track with producer Derek Wells (known for work with HARDY, Jordan Davis, Maddie & Tae, and Post Malone).

Tyndall says, “As I established on my last record, rock music has always been a big influence on my sound.  I knew I wanted to embrace it even more by expanding my audience to that genre.  When someone suggested a collaboration with Pop Evil, it was a no-brainer –  their music is so authentic. When I met Leigh, he was so passionate about the song that the recording process was a breeze, as he incorporated both our sounds. I’m excited to introduce myself to Pop Evil’s fans and the rock world in general. I cannot wait to see what happens next.”

Kakaty adds, “Sometimes the one you overlook is the one who never left – the steady heartbeat in the background, loving you quietly through every storm, waiting not to be chosen out of convenience, but finally seen for what they’ve always been: home.”

Known for explosive live performances, acclaimed songwriting, and a debut album praised by American Songwriter for its near-perfect country-rock balance, Tyndall’s momentum continues to build. She has shared stages with Megan Moroney, Maddie & Tae, Ashley McBryde, Ella Langley, Ian Munsick, Tracy Lawrence, and more. She will support Danny Worsnop and Tyler Rich on select dates this spring, in addition to appearances at major global festivals throughout the season. She has also built an impressive songwriting résumé, including “Bar in Baton Rouge,” featured on Lainey Wilson’s GRAMMY-nominated album Whirlwind.

With “Maybe You’re The One,” Tyndall continues to blur the line between country and rock, delivering a powerhouse collaboration that reinforces the raw, high-energy sound she is known for.

2026 KASEY TYNDALL TOUR DATES: 

April 2 – Fort Worth, TX Tulips*
April 3 – Lubbock, TX – Soggy Dog*
April 4 – Dallas, TX – Come and Take It Live*
April 5 – Corpus Christi, TX – House of Rock*
April 7 – Biloxi, MS – The Sanctuary*
April 9 – Orlando, FL – Conduit*
April 10 – Tampa, FL -The Orpheum*
April 11 – Atlanta, GA – Aisle 5*
April 12 – Greensboro, NC – Hangar 1819*
April 18 – Lake Charles, LA – This Is Home Fest
May 29 – Savannah, GA – Rock The Country
Aug 16 – Hylands, Chelmsford, UK – Country Calling Festival

*Acoustic, support for Danny Worsnop + Tyler Rich coheadline tour

2026 POP EVIL TOUR DATES

April 2 – Asbury Park, NJ – The Stone Pony
April 3 – Foxborough, MA – Six String Grill & Stage
April 7 – Harrisburg, PA – Capitol City
April 9 – Bowling Green, OH – Clazel Entertainment
April 10 – Covington, KY – Madison Theater
April 11 – Milwaukee, WI – The Rave/Eagles Club
April 12 – Sault Ste. Marie, CAN – The Machine Shop
April 15 – Chattanooga, TN – The Barrelhouse Ballroom
April 16 – Biloxi, MS – The Sanctuary
April 17 – Destin, FL – Club LA
April 18 – Birmingham, AL – Workplay
April 19 – Nashville, TN – The Basement East
April 21 – Ringle, WI – The Q & Z Expo Center
April 22 – Joliet, IL – The Forge
April 24 – Dubuque, IA – Q Casino
April 25 – East Moline, IL – The Rust Belt
April 26 – Bloomington, IL – The Castle Theater
April 28 – Kansas City, MO – The Truman
April 29 – Indianapolis, IN – HI-FI
April 30, May 1 & May 2nd- Flint, MI – Machine Shop

The post Country Rock Powerhouse KASEY TYNDALL Teams Up With Platinum-Selling Rock Band POP EVIL On “Maybe You’re The One” appeared first on The Rockpit.

Elle Baez steps confidently into her debut era with Different Kind of Love, a timeless pop-soul ballad built around raw emotion and soaring vocal power. Carried by live piano and uncluttered production, the track allows Baez’s voice to take center stage—rich, controlled, and deeply expressive.

There’s a classic grandeur in its delivery, echoing the great love anthems while feeling refreshingly sincere. Lyrically, she celebrates a transformative love that elevates self-worth rather than replaces it. Different Kind of Love isn’t just romantic—it’s triumphant, radiant, and unapologetically heartfelt. A strong, emotionally resonant introduction to what promises to be a compelling debut album.

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DI LEO strips things back on the acoustic rendition of The Mechanic, letting the song’s emotional core breathe without distortion or armor. Anchored by bare, resonant guitar strums, the track feels more intimate—each lyric landing with quiet weight. The absence of full-band force highlights the vulnerability in his voice, turning the act of “putting yourself back together” into something fragile yet deeply human. In this acoustic form, The Mechanic becomes less defiant and more reflective—a solitary moment of reckoning that proves resilience doesn’t always need volume to be powerful.

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They say good things are worth waiting for—but how long do you wait for something truly great? In the case of a full‑band Lynne Jackaman show, the answer for me was over six years since September 2019… and that was far too long.

After an extended instrumental intro from the band, Lynne finally stepped onto the stage at Amped in Huddersfield to huge applause. She certainly knows how to build anticipation. The set opened with ‘Nobody’s Fault But Mine’, a powerful start to the night that set the tone for the rest of the evening.

A blues‑drenched ‘On Your Own Now’ followed, before Lynne delivered a stunning ‘Come Play With Me’, the final vocal run leaving the entire room breathless. ‘Copy Cat’ had everyone moving, the horns punching through while Lynne’s voice soared with effortless power. The rhythm section ensured the band ran as tight as possible with Andy Banfield (bass) and Paul Stone (drums) ensuring the engine room was firing at it’s best.

Then came ‘On My Own Stage’ and ‘Beautiful Loss’, performed with guitarist Jamie Evans—intimate, stripped back, and deeply emotional. ‘Beautiful Loss’ became a heartfelt tribute to the late Adam Green, co‑founder of her former band St Jude; you could have heard a pin drop. The groove kicked back in with ‘Supernasty’, irresistibly funky, followed by a brilliant ‘Red House’ sax‑and‑trumpet jazz‑fusion detour, delivered by the wonderful Mark Brown & George Hogg.

We were treated to three new songs tonight, ‘Lemonade’, set to be recorded soon—an immediate yes from the crowd to this one and ‘Back and Forth’, already Auntie Amy’s favourite. ‘Save Goodbye’, a gorgeous song which closed the night but not before we had ‘One Shot’ which was delivered with precision and passion, and ‘Nothing But My Records On’ was simply astonishing—an off‑the‑scale vocal performance that left the room stunned.

The night wasn’t just a celebration of the phenomenal 2020 album ‘One Shot’, performed in full and in all its glory. It was also a glimpse of what’s next, with three exceptional new tracks hinting at a very bright future. Was the return of Lynne Jackaman worth the wait? Absolutely. Wherever she’s been hiding, it’s time she stayed in the spotlight. Talent like this should never be kept out of sight. Welcome back, Lynne.

Photos by David Pickles

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The post LIVE REVIEW: LYNNE JACKAMAN at Amped, Huddersfield, UK appeared first on The Rockpit.

Madeline Goldstein plunges into shadowy introspection with Dream 2 Die (No Heaven), a synth-laden nocturnal anthem built for solitary night drives. Wrapped in pulsing basslines and shimmering new wave textures, the track captures the eerie limbo between reality and dream, where isolation feels cinematic and time stands still. Goldstein’s haunting vocal presence cuts through the haze with emotional precision, balancing fragility and quiet strength. Dark yet immersive, Dream 2 Die (No Heaven) lingers like neon reflected on wet pavement—moody, hypnotic, and suspended in that strange space between loss and longing.

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