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Cartel have announced the details of their first full length album since 2013, and they are picking up right where they left off.

Titled ‘Learning How To Cope’, it will be released on September 18 via Field Day Records.

Vocalist Will Pugh had this to say about the contents of the record:

“This music saved me. It helped me reconnect with empathy, with community and with the idea that everybody belongs. That ethos – honesty, openness, and taking care of your people – is what this record is built on. It feels different, but it still feels like Cartel.”

And the artwork is looking a little something like this:

The band have also shared two new tracks that are set to appear on the album.

The first is ‘Shirts & Skins, a wonderfully heavy piece of modern pop-punk that probes at the abject state of things on the streets right now, written in the wake of the ICE raids took place in Minneapolis.

Will had this to add about the subject matter:

“We’re way past the point of being able to sit back and just provide the safe space that people can go andget away from everything. Society has been doing that long enough and not having difficult conversations – and that’s just kind of over. If you’re not going to say something now, when are you ever going to fucking say something?”

And the second is ‘Deadbeat Drag’, a quintessential piece of damning storytelling that leaves the claws firmly out.

The band are also set to support State Champs across the US later this year. Here are all the dates:

NOVEMBER

05 – ALLENTOWN Archer Music Hall
06 – BUFFALO Riverworks
07 – INDIANAPOLIS Deluxe @ Old National Centre
08 – ST. LOUIS The Pageant
10 – DALLAS Echo Lounge
12 – PHOENIX The Van Buren
13 – LAS VEGAS Brooklyn Bowl
14 – RIVERSIDE Riverside Municipal Auditorium
15 – SACRAMENTO Ace of Spades
17 – PORTLAND Roseland Theater
18 – SEATTLE The Showboat
20 – SALT LAKE CITY Rockwell at The Complex
21 – DENVER Summit Music Hall
23 – DAVENPORT Capitol Theatre
24 – LOUISVILLE Mercury Ballroom
25 – COLUMBUS Newport Music Hall
27 – SAYREVILLE Starland Ballroom
29 – BALTIMORE Nevermore Hall


DECEMBER

01 – RICHMOND The National
03 – NASHVILLE Brooklyn Bowl
05 – ST. PETERSBURG Jannus Live
06 – ORLANDO House of Blues

The post Cartel Announce New Album ‘Learning How To Cope’, First In 13 Years appeared first on Rock Sound.

Born from post-industrial areas of Scotland, where wounds from the socio-economic decline have barely healed to scars, and

Live Gallery: Tuk Smith & The Restless Hearts – KK’s Steel Mill, Wolverhampton

23rd July 2025
Support: Tender Vendetta, Blanco Negra
Photos: Tim Finch Photography

We look back at the epic Tuk Smith & The Restless Hearts show through the eyes of our photographer Tim Finch!

Tuk Smith & The Restless Hearts

Tender Vendetta

Blanco Negra

Photo credits: Tim Finch Photography

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Gallery: Tuk Smith & The Restless Hearts – Wolverhampton appeared first on The Razor's Edge.

Live Review: Tuk Smith & The Restless Hearts – KK’s Steel Mill, Wolverhampton

23rd July 2026
Support: Tender Vendetta, Blanco Negra
Words & Photos: Tim Finch

Thursday nights are not usually reserved for unfiltered rock and roll, but those good people at KK’s Steel Mill had other ideas, with Georgia’s Tuk Smith & The Restless Hearts bringing their brand of swaggering, high-energy rock to Wolverhampton, backed by support from Blanco Negra and Tender Vendetta. It’s an occasion for KK’s big room tonight, purely as the Lounge is otherwise occupied, but the huge stage gave each band the chance to really strut their stuff.

Blanco Negra had the task of getting the crowd moving early, and they wasted little time in doing exactly that. The Black Country three piece opened with the punchy ‘Wild and Crazy’, immediately establishing their upbeat hard rock credentials before rolling into ‘(You Set My) Heart on Fire’

The middle of the set kept the momentum high. Sunshine Girl’ brought a welcome melodic lift, while ‘Nothing’s Going To Stop Me Now’ delivered the kind of feel-good anthem that had heads nodding throughout the venue.  Closing with the recently released ‘Hard Cold Lover’, Blanco Negra left a lasting impression adding a pink twist to their impressive sound.. While many in attendance had arrived for Tuk Smith, Blanco Negra ensured they earned plenty of new admirers.

With only six songs to make an impression, Tender Vendetta wasted no time getting down to business. Opening with ‘Kamikaze Love’, the Wolverhampton outfit immediately injected a shot of energy into KK’s Steel Mill, delivering a set packed with attitude. They may have been one of two support acts for Tuk Smith, but they approached the evening like it was their own headline show.

The momentum continued through ‘Daisy Chain’ and the brooding ‘Drown’, their performance tight throughout. A spirited cover of The Beatles’ ‘Helter Skelter’ proved to be a smart choice, taking the classic and giving it a heavier, dirtier punch that fitted naturally alongside their own material.

Closing with ‘I’ll Do Me’ and ‘Life’s A Bitch’, Tender Vendetta finished on a high, leaving the audience warmed up and fully engaged ahead of the night’s main event. Their stage presence continues to grow with every performance, and the chemistry between the band members is becoming increasingly apparent, a band destined for bigger things.

KK’s Steel Mill is built for rock’n’roll, and Tuk Smith & The Restless Hearts arrived in Wolverhampton with to make the venue feel like home. Tuk wasted no time in delivering exactly that, stepping out with the confidence of a frontman who knows how to command a room and a band that clearly understands the power of a great live show.

From the opening moments they played with a raw, relentless energy. The set moved between swaggering rockers and more melodic moments without ever losing momentum, with Smith throwing himself into every song. There was banter between tracks, Tuk happy to return to Wolverhampton, even joking with one attendee “didn’t I dance with you last time? Didn’t you grab my ass?”

Tuk Smith has a clear affection for the classic ingredients of rock music, but the songs never felt like exercises in nostalgia. There was a sense of urgency running through the entire set, with the band sounding hungry and determined. The Restless Hearts brought the muscle, Smith brought the charisma, and together they created a set that was as much about connection as it was volume.

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Review: Tuk Smith & The Restless Hearts – Wolverhampton appeared first on The Razor's Edge.

Following the success of last year’s debut Machine Code, UK punk festival stalwarts MC16 make a swift return with

It’s Eleven Records is pleased to present SURALIN’s sixth release,“EVERY DAY SLICES ME,” which wi be released on vinyl on September 11, 2026, via It’s Eleven Records and distributed by CARGO RECORDS. “After 17 years as a band, Suralin is releasing their first 7-inch. Timely, one might cynically

[Cover art by Adam Yates]

Look, I’ll freely admit that I listen to and love some truly pretentious death metal. Hell, I ranked Ingurgitating Oblivion’s last album as my seventh favorite in 2024, and that album has its head so far up its ass that it popped back out of its neckhole while shrinking its spine into a Jimothy monster. The world, however, requires balance. I need music that’s barely graduated elementary school as much as I need the PhDs in my life. Minneapolis’ Nothingness is here to say “fuck school!” and beat you with a textbook rather than read it.

Album number three, Godslaughter, kicks into gear with a sub-two-minute beater that opens with a slightly more ignorance-tinged version of a mid-tempo riff that Cannibal Corpse would gladly wield with murderous glee. That’s largely the name of the game here: simpler riffs that flit and fly from breakdown chugs to grinding crushers with straightforward drumming and a delightfully rowdy vocal performance.

“Skull Evulsion” is our most primitive effort that spends most of its time going at a relatively feral speed and sports a fantastic echoing BLEGH right when you need it. “Trenchant Glunch” starts with a stuttering beatdown before firing off some wonderfully violent and layered tremolos supported by potent blasts, along with a breakdown that has a rather delightful bit of a bounce to it. The aptly titled “Incredible Violence” marches through your ears with a militant start but unloads the album’s best strut-savy riff around the one-minute mark. “Umbral Spear” spends a few second being fancy with a synth, but that small moment of breathing room makes churning guitar work all the more impactful when it returns. The guest lead on that track is also a nice touch.

Truly, vocalist Barclay Olson is the star of the show. He consistently switches up what he’s doing add a lot of flavor to each song. He has some strong bellow and raspy highs, but he gets downright vomitous at times. The layered vocal outro on “Incredible Violence” sounds like someone falling into a hellvoid; He’ll intentionally reduce enunciation to get these gnarly sounds like he’s choking on his own vomit; and my favorite moment is late on “Trenchant Glunch” when it sounds like someone is shoving a wad of cotton balls down his throat like this Godzilla gif:

Where Nothingness struggles a bit is trying to reach beyond their strengths. Three of these nine tracks float around the seven-minute mark. Closer “Novus Hegemonikon” is the best of the three. It opens with some bongos and wooden frog instrument sounds to set the stage that we’re shifting toward the end. From there, the song effectively builds on itself and continues to bring some new, but not outlandish or ill-fitting elements and ideas into the fold. The practice of a slightly longer closer that tries some new things is a well-practiced approach across metal and works quite well here. “Vanquishing Providence” and “Divine Irresponsibility,” on the other hand, don’t work quite so well, in no small part because they are sat right next to each other in the middle of the album. Neither song is offensive on its own, but they have similar tempo swings and neither one really comes across like a particularly cohesive song that justifies its length; they each feel like some cool parts sewn together and that makes the middle of the album drag a little bit. Godslaughter is not ruined by this, but the experience is dampened a bit.

I guess what I would say is, there’s no need for these boys to be reaching for an associate’s degree when crafting their next album. Sure, audit a few classes and weave in those learnings a bit here and there with songs like the closer, but Nothingess is most impactful when they’re tearing up high school diplomas and smooshing faces into goo on the playground to make their album art.

The post Nothingness – Godslaughter Review appeared first on Last Rites.

Tori Amos was born in Newton, North Carolina, during a stop on her family’s move from Washington, D.C., and grew up in Baltimore and Silver Spring, Maryland, where her father served as a Methodist minister. A musical prodigy who could reproduce music after hearing it, she entered the preparatory division of the Peabody Institute at age five. She lost her scholarship at eleven after resisting the school’s emphasis on reading classical music, and by thirteen she was performing in piano bars around Washington, D.C., with her father acting as her chaperone. Demo tapes sent to record labels eventually led to

The post Complete List Of Tori Amos Songs From A to Z appeared first on ClassicRockHistory.com.

The post New Music Review: FIREFLAME ‘Force Against The End’ appeared first on INFRARED MAGAZINE.

Punk rock has always been deeply obsessed with its own self-imposed rules, which is highly ironic for a