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A musician is bringing his Japan-inspired sushi concept to Arizona, complete with a signature roll named after one of his bands. Continue reading…

There is not much that will make me venture into Edinburgh during the mental frenzy that is the Edinburgh Fringe Festival, and particularly on its last weekend, but I’ve done it to see an outstanding band from the USA: the one and only Kickin’ Valentina. The boys’ new album, Anthems from the Underground, launched yesterday, … Continue reading Gig Review: Kickin’ Valentina / R66 – Bannermans, Edinburgh (29th August 2026)

New York indie rock trio Yeah Yeah Yeahs have announced details of their new live album Hidden in Pieces Live at the Royal Albert Hall, which was recorded in London in June 2025.

The album – their first since 2022’s Cool it Down – is available to stream through their Bandcamp page, with physical versions to follow via Secretly Canadian on October 23.

A 22-minute film by director Barnaby Clay, titled Hidden in Pieces, can be viewed on the Criterion Channel until September 24.

“I wanted to create a film that not only captured the live performance but also felt close to the spirit of what the band was going for with their shows,” says Clay. “Something delicate and dream-like, like a precious memory, timeless, emotionally charged and shrouded in mystery.”

Check out the short trailer below.

“Hidden in Pieces Live at the Royal Albert Hall was born out of a need to commune with our band and fan family in 2025, after the election,” writes vocalist Karen O. “In the past, YYYs haven’t often chosen when to be back at it and out there, it often chooses us. It, being the times. We turn to live music when we need that specific quality of depth and light to see us through the times.

“We worked on these arrangements in February of ‘25 at Sonic Ranch in an impossibly small window of time,” she continues. “Imaad Wasif and our string arranger Jherek Bischoff dove straight into the deep end with us as we arranged almost 24 songs for a quartet and acoustic instrumentation in less than a week. The stakes were high, the Royal Albert Hall was the 3rd play of the tour, most of this record is live from the hall. It was our first time performing there and the hype leading up to it was overwhelming, but ladies and gentlemen we believe the hype now we’ve done it.

“All the shows we performed on this small tour were extraordinarily vulnerable,” she adds. “We hope that translates.”

You can pre-order the vinyl and CD editions through the Yeah Yeah Yeahs’ Bandcamp page.

Baltimore’s Crying Laughing play an intoxicating combination of jazz and post-rock. Next week they’ll release their latest album Talking on the revered experimental label Hausu Mountain, and they previewed it Tuesday with a third advance single. “Geese Six,” the album closer, follows the release of “Ricemeat” and opening track “Toppled Column.” All three are worth hearing, but this one especially; I love its balance of rumbling bass, pounding rhythm, celestial keyboards, and honking sax. Check out all three songs below.

The post Crying Laughing – “Geese Six” appeared first on Stereogum.

Slaughter And The Dogs return with their first proper album since Vicious, featuring Mick Rossi on vocals and a classic Manchester punk sound.

The post appeared first on Louder Than War.

The latest preview of their forthcoming self-titled sophomore album

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War does not always end when a soldier comes home. For many veterans, the battlefield survives as memory, vigilance, sleeplessness, and estrangement from a civilian world that seems to have resumed without them. When housing disappears, work becomes unstable, and pain is treated with chemicals rather than community, survival can narrow into dependency. The opioid crisis reveals a deeper social failure: wounds of body and mind are too often managed instead of understood. Homelessness then becomes more than poverty; it is exile from belonging. A nation that asks people to endure war owes them more than gratitude when they return.

Some songs begin with a hook; Be Good Tonight, the debut single from Sonic Anonymous, begins with a condition. The artist appears in a bathrobe beneath a flashing “JOLLY” tiara, an image whose comic absurdity quickly curdles into something more troubling: the private exhaustion of someone trained to reassure the room while quietly coming apart inside it. The costume is so plainly inadequate, a little crown placed over fatigue, grief, obligation, and the old social command to keep functioning. That tension governs the music.

Be Good Tonight moves through electro rhythms, crisp arpeggios, raw guitar, and a deliberately unstable arrangement that seems to circle its own anxiety. The vocal stays cool and nearly detached, creating an unnerving contrast with lyrics structured as a fevered loop of intrusive thought. There are moments when the song feels suspended between synthpop, electronic rock, and something stranger, as though genre itself has become another room the artist is too tired to tidy.

At the center is a devastating personal history. “The track serves as a raw, electronic, posthumous plea to my late brother, a military veteran who ended up homeless in Las Vegas and tragically passed away from an overdose,” says the artist.

That disclosure changes the emotional scale of the song without reducing it to biography. Military service, homelessness, addiction, and bereavement meet here as parts of the same American contradiction: a culture fluent in ceremonial gratitude yet frequently clumsy when confronted with the daily care required after trauma. Veterans can return to civilian life carrying injuries that remain invisible until housing, work, relationships, or sleep begin to collapse. The opioid crisis enters that landscape with terrible efficiency, offering chemical relief where social structures have already failed.

Sonic Anonymous approaches this material through understatement rather than theatrical grief. The deadpan delivery makes the desperation more severe, because composure becomes part of the subject. Trying to be everything for everyone else is presented as a form of attrition, one that can leave a person performing normalcy on reserves that have already been spent. Producer Tomas Morton, a two-time Grammy nominee, gives the track enough space for its odd angles to remain exposed, while Joe LaPorta’s mastering keeps the electronics and guitars sharply defined.

Listen below:

Sonic Anonymous has made a debut about survival as performance, and about the awful distance between appearing functional and actually being safe. Its deepest ache lies in that distance, where love, duty, exhaustion, and institutional neglect gather around a simple request whose tenderness has already become impossible to fulfill.

Follow Sonic Anonymous:

• Instagram
• TikTok
• Spotify

The post Electronic Art-Pop Artist Sonic Anonymous Confronts Grief, Addiction, and Veteran Homelessness in “Be Good Tonight” appeared first on Post-Punk.com.

The latest single from their forthcoming debut album, ‘we are unpeople’

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Taken from his upcoming live concert film/album “Live In Kraków”.

The post Till Lindemann (Rammstein) Shares “Du Hast Kein Herz” Live Video appeared first on Theprp.com.

Stream two new tracks

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