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  • Make Them Suffer – Finish Recording New Album

    Australian metalcore band Make Them Suffer have announced that recording for their sixth studio album has officially wrapped.
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  • Bury Tomorrow Share Devastating New Track ‘Sx’

    Bury Tomorrow have kickstarted an exciting new chapter with a new track, released via their freshly-launched label Dea†h Records.

    Dea†h Records serves as the band taking control of their future as an independent band, and ‘Sx’ showcases just how they are looking to approach that. Unapologetic, unrelenting and up there with the most brutal the band have ever been, it is a fork in the road as much as it is a boot to the temple. A coming together of everything that they have picked up over the years, professionally and musically, presented with heart and soul at its core.

    Vocalist Dani Winter-Bates had this to say about the track and what it means:

    “Sx is the perfect way to introduce this new chapter. It’s about grappling with the good and the bad every day, realising that none of us are entirely one thing or another. Life exists in shades, not absolutes, and we all carry bones we bury deep.”

    The band are due to play their biggest ever headline tour next year, with support coming from Stick To Your Guns, Windwaker, and Elwood Stray.

    Here are the dates:

    FEBRUARY 2027

    18 – GLASGOW SWG3 Galvanizers
    19 – NOTTINGHAM Rock City
    20 – LONDON O2 Academy Brixton

    The post Bury Tomorrow Share Devastating New Track ‘Sx’ appeared first on Rock Sound.

  • Parker Barrow Announce November & December 2026 Headline UK Tour

    To celebrate the release of their sophomore album, ‘Hold The Mash‘ on Friday July 17th, Nashville blues-infused Southern rockers Parker Barrow will return to the UK in November and December 2026 for another headline tour. Planet Rock Tickets will run a 48-hour ticket pre-sale at 10am on Wednesday July 15th  here. Tickets will go on […]

    The post Parker Barrow Announce November & December 2026 Headline UK Tour appeared first on ROCKPOSER DOT COM.

  • The Menzingers – ‘Everything I Ever Saw’

    There’s a good chance a lot of reviews are going to slate the new Menzingers record. ‘Everything I Ever Saw’ is so different from their raging punk past, and that’s going to alienate the folk who want to slam their feelings away. With respect, those reviews are going to be completely wrong. More than a cursory listen reveals the Menzingers have tapped into the Springsteen quality of evoking an entire scene in a single chord and conjuring a lifetime from a verse, and they’ve created an album that feels like you’re watching the world go past from a train window, ruminating on how the threads of life can knit together. ‘Everything I Ever Saw’ is stunning, aching, contradictory and an entire world compressed into eleven songs. 

    “We may stand have a chance, but we still gotta try,” rings the chorus of the magnificent first single ‘Chance Encounters’,  song for when you realise that one tiny mis-step or missed connection, and your entire existence could have turned out differently. Those who’ve walked into your life and changed it for the better are the subject of the sun-drenched ‘Better Angels’, with its classy simplicity and hope for the future. Then we’ve got ‘Nobody’s Heroes’, a song that feels like you’re attending church except the preacher is leading a sermon on surviving life’s knock backs. It almost feels like an apology from the band for giving up their thrash  – “We ain’t nobody’s heroes, because we can only be ourselves” – but they needn’t offer any restitution for changing direction. We all grow and change, and the Menzingers have entered a beautifully evocative new chapter in their careers. 

    Part of the pleasure of ‘Everything I Ever Saw’ are the unexpected gems that no one saw coming. ‘Other People’s Money’ is a gorgeous Robin Hood ear worm that blooms from a piano that drifts and stomps into your mind at unforeseen moments, and ‘She Enters My Dreams’ is a plain and simple song of devotion, the kind of song you wish had been written about you to spark a rom-com chain of events to find a lost love. In fact, if we told you this song was a collab with Brian Fallon, you’d probably believe us (though, to the best of our knowledge, Jersey’s finest was not involved). The whole of ‘Everything I Ever Saw’ is very Gaslight Anthem, but that’s likely by coincidence rather than design. The really “Menzingers Anthem” moments, like ‘Parade Day’ with it’s waving-your-mate-goodbye-at-the-airport energy and almost Billy Bragg lilts on the chorus, remind us how distinct their sound is, but also let us appreciate the Gaslight new direction by providing an elegant backdrop.

    We’ve got no complaints at all about ‘Everything I Ever Saw’. This is a record for people who have grown with the Menzingers, and had our lives change along with theirs. We can look back on the older records with fondness, remembering a specific time when that sound grabbed us, but this is an album for where we and they are now. It’s softer, more tempered by the forces of the world, but no less vigorous than we hoped, and a record that reveals more and more to love with every playthrough.

    KATE ALLVEY

  • EscumergamĂ«nt – Apparebat Eidolon Senex Review

    When we write about music, we often proceed from a premise that is useful but essentially false: namely, that music has a fixed, objective reality. Don’t we all know, at some level, that music is never the same? Not just from one listener to another listener, but even – and sometimes especially – from the same listener encountering the same piece of music at different times. If I’m not in the right headspace for it, even my favorite albums of all time will land in my ears like the worst garbage I’ve ever heard. We are dreadfully imperfect receivers, conveying any given auditory sensation along the faulty wiring of memory, mood, experience, and physiology to create a soundstage of vastly different auditory perceptions.

    The matter at hand today is the second album from Sweden’s EscumergamĂ«nt, Apparebat Eidolon Senex, and the reason for the hectoring introduction about the subjectivity of music is that in the half-dozen or so times I have listened to the album, it has never once sounded the same. This time, it captivates and ensorcells, while this time, it blurs and hums away exactly as expected. Here, the guitars slink so far beneath the keys as to evaporate completely, while there, the songs flicker and persist like the honorable ghosts of a vanished kingdom. Even my least splendid encounter with the album has bottomed out somewhere in the vicinity of “remarkably pleasant boredom,” which is a higher floor than many albums’ ceilings.

    According to the (intentionally) scant information available, EscumergamĂ«nt is a black metal quartet comprised of Swedish musicians from projects including Stilla, Setherial, and Bergraven, and for some of you, that might already be more than enough inducement to mash the ‘play’ button. For everyone else, expect staunchly traditionalist black metal steeped in a buzzing, quavering, richly melodic atmosphere. Of the band members’ affiliated projects, my particular busted ears hear the most overlap with Stilla, but EscumergamĂ«nt’s music sometimes also recalls Abigor, early Gehenna, and the ever-underrated Lunar Aurora. One particularly strong element of the album is the vocals, which are a powerfully raspy snarl somewhere between Emperor’s Ihsahn and Enslaved’s Grutle.

    Nevertheless, the type of “atmosphere” offered here may appear to some as a haunting, mystical haze that suffuses the songs with mournful indeterminacy, while appearing to others as a crutch-like use of advanced recording tools and instrumental techniques to mimic the genre’s foundational (and likely accidental) murk and mystery. “Laudanum and a Silver Scalpel,” for example, is the song that sinks deepest into an eerily hypnotic and simplistic drive, relying almost on a modal structure with blitzed and bleary keys that waver out of the mist and then recede. Or, y’know, maybe it just sounds like Transilvanian Hunger.

    In a sour mood, the keyboard melody on “To the Graves!” is a cloying sing-song, but when I’m feeling locked in, it takes on an appealingly melancholy flavor. “The Corpses Heaven Refused to Take” hits its strongest stride with a doom-inflected passage which feels like, if left to develop further, it might have plumbed even more glittering depths, but then on a tune like “Radiant Glimmering Whorl,” EscumergamĂ«nt crushes its way through a basically perfect five and a half minutes that alternate between triumphant melodic sweeps and punishing aggression. Does this mean the band needs to pick and choose between their many modes of attack? Categorically no. On Apparebat Eidolon Senex (as with music writ large), the real meat lies in that unknowable lacuna between stimulus and response.

    The post EscumergamĂ«nt – Apparebat Eidolon Senex Review appeared first on Last Rites.

  • “I thought it’d be funny to ask Gerard Way if he wanted to sing on a song. He text straight back: ‘Absolutely!’” From collabing with a My Chemical Romance legend to taking death metal to Red Rocks, five minutes with Frozen Soul’s Chad Green

    Texan death metal five-piece Frozen Soul have been bubbling away in the US underground for years, but it was this year’s excellent No Place of Warmth that attracted them some bonus attention – not least thanks to guest appearances from Machine Head leader Robb Flynn and, most surprisingly, My Chemical Romance frontman Gerard Way. Frozen Soul singer Chad Green explains how those two collabs came about, what it’s been like playing death metal in arenas and more.

    Let’s start with the important question: how’s Carl, your adopted puppy?

    “He’s great! He was actually literally just in here, begging for attention. I didn’t actually want a dog. For a while, I’ve been like, ‘I’d love another dog, but I tour so much I can’t really take care of one right now.’ But I got home from tour and my girlfriend Nat and her son came over with a Yorkie-poo [Yorkshire Terrier/Poodle crossbreed]! He was the cutest thing in the entire world and I about cried when I saw him. I can’t imagine my family without him now.”

    Speaking of tours, Frozen Soul in arenas – what’s that been like?

    “It was wild! Our first run at those kind of shows was with Amon Amarth, Cannibal Corpse and Obituary. We played Red Rocks – the first death metal to ever play there, by the way, because we opened the show. We were shitting bricks on that tour because it was so insanely stressful. But fast-forward four or five tours and we’re out with Killswitch, doing hockey arenas. The hardest thing is playing to a big crowd who have no idea who we are. There’s nights where I’m like, ‘Who’s heard Frozen Soul?’ and one guy’s like, squeaking at the back, ‘Me!’ But you know, when you win that crowd over, you feel on top of the world.”

    How does a Texan death metal band draft in Gerard Way to sing on their record?

    “It’s not as hard as you’d think! His team invited us to see My Chemical Romance in Dallas, something crazy like 30 or 40,000 people in this sold-out stadium. We went backstage and met him, ended up trading numbers. Then he came to see us when we played in LA with Napalm Death and Brujeria. When we talked about the new album, I thought it’d be funny to ask Gerard if he wanted to sing on a song over text. He came straight back, ‘Absolutely!’ He’s inspired so many generations, but he’s just down to do cool shit too and he absolutely loves metal.”

    Be honest: did you have an emo phase?

    “Not really. There was a moment where I met this girl and her friends listened to like Mewithoutyou, Atreyu, bands like that. My Chemical Romance was probably in that, but I loved the heavier stuff more – I’d been shown Decapitated! At the time there was a screamo/hardcore scene coming up in Texas though, and finding that led me to Terror, Comeback Kid, Youth Of Today, Gorilla Biscuits
 all that stuff.”

    We were the first death metal band to play Red Rocks

    Chad Green

    Gerard’s not the only guest – how was it working with Robb Flynn?“

    He’s such a good dude. I’ve worshipped the end riff of Davidian my entire career. I strongly believe that riff is why breakdowns evolved how they have. You’ve got Reign In Blood and Domination, which are great, but that riff at the end of Davidian? That shaped so much stuff it’s insane. We always try to work with friends or people we look up to.”

    So are you friends with Robb now?“

    Yeah! We were playing with Killswitch when we first met him, I was watching them play and he just came up and we ended up singing a load of their songs together. Robb and I had calls, we talked about the song and how it’s a follow-up to Arsenal Of War, but also talked about our experiences with loss. It all just clicked. He wrote all the lyrics of the parts he’s on too – he really invested himself in the song.”

    Was Dallas excited to host the World Cup?

    “I don’t know, I’m not a fuckin’ sports guy! I play videogames and Magic: The Gathering, you know? II don’t know the difference between a basketball and a football, dude. I didn’t get this god-like figure from sports – I got it from eating Big Macs and playing World Of Warcraft.”

    As an expert on ice – who’d win in a battle royal between Ice-T, Ice Cube and Vanilla Ice?

    “Oh man, Ice-T would probably kill them all. He seems like the coolest. I’ve never met him, but of all the celebrities out there he seems the most grounded, a real fuckin’ dude. I’d love to get him on a Frozen Soul record – alright, LP4!”

    No Place Of Warmth is out now via Century Media

  • “The nurse gave me a note that said, ‘If you have a drink, you will die.’ I had a glass of wine.” Phil Collins opens up about his past struggles with alcohol addiction, and reveals how Eric Clapton offered help in his darkest hours

    Phil Collins opens up about his past battles with alcohol addiction in a new interview with British music magazine MOJO, revealing that fellow rock star Eric Clapton once talked him into a not-wholly-successful stay at his Crossroads Centre rehab facility in Antigua.

    Collins has previously written about his battle with alcoholism in his revealing 2016 autobiography Not Dead Yet. The former Genesis man turned successful solo artist spoke of turning to alcohol to fill the “gaping void” in his life following the breakdown of his third marriage and subsequent divorce in 2006.

    “Night after night I find myself lying on the bed, staring out of a skylight at grey Swiss skies, rueing my life,” Collins wrote in his memoir. “I’m all alone, save for my good friends Johnnie Walker and Grey Goose.”

    “It took me until the age of 55 to become an alcoholic,” he added. “I got through the heady 1960s, the trippy 1970s, the imperial 1980s, the busy 1990s. I was retired, content, and then I fell. Because I suddenly had too much time on my hands.”

    “But it was something I lived through, and I was lucky to live through it and get through it. I was very close to dying.”

    In his interview with MOJO‘s Mark Blake, Collins reveals that, in the 2010s, he was encouraged to check into rehab by his longtime friend Clapton. Collins was supposed to stay at the Crossroads Centre for six weeks, but checked himself out after a month as he had a tour booked.

    “The nurse who took me to the airport gave me a note and told me to read it on the plane,” he remembers. “It said, ‘If you have a drink, you will die. And it’s terrible to say, but I had a glass of wine.”

    Collins will be inducted into the Rock and Roll Hall of Fame for his solo career in November. Earlier this year he revealed that he had turned down the opportunity to perform at the ceremony, which will be held at the Peacock Theater in Los Angeles on November 14.

    “They asked me if I would perform,” he told BBC Breakfast. “I said no. You’ve gotta be match fit to do something like that. You can’t just go onstage. You’re going to have to rehearse. And by that point, if you haven’t been singing, your voice is going to be shot, and that’s not going to be good. I’d rather not do it.”

  • Dexter and the Moonrocks Unleash Thoughtful New Track ‘If You Could Talk’

    Dexter and the Moonrocks have shared a new track, continuing their ascent to the very top, and it is modern grunge-tinged rock at its most patient and thoughtful.

    Titled ‘If You Could Talk’, it embodies much of the melancholy and meandering attitude that defined alternative music in the 90s, but mixed in with modern day inflection and atmosphere. The result is a song full of heart, hurt and honesty, the sort made to be played on the biggest stages the world has to offer, and that will offer up support for those going through similar feelings of loneliness and longing.

    Vocalist James Tuffs had this to say about it:

    “The song, If You Could Talk, and what it means to me is about having a family back home that you never get to see. It’s about what a conversation would sound like with your son if he knew how to talk, or whoever it may be. Everyone has something they are leaving behind when they hit the road, and this song is about all of those endless struggles that come with that. “ 


    The track arrives at a time when the band are having a huge moment with their track ‘Freakin’ Out’. Currently spending its third week at No.01 on Alt Radio, and receiving a gold certification from RIAA, with over 200 million streams around the world, it’s a sensational to say the least.

    Here it is:

    The post Dexter and the Moonrocks Unleash Thoughtful New Track ‘If You Could Talk’ appeared first on Rock Sound.

  • Club Wagon Creek – Deadwood


    Club Wagon Creek are an outlaw country‑rock band from Southeast Manitoba that writes songs the way life actually happens:  messy, honest, and full of feelings that hit before you can name them. Born from grief and shaped by metal, country/roots, and blues, their sound lives where confessional songwriting meets hard‑driving guitar rock: pedal‑steel atmosphere, ’80s‑tinged riffs, and hooks that stick. 

    The singer commented on the latest single, Deadwood: “I wrote this song based on a trip I took to Deadwood on a motorcycle. And we ended up getting parking tickets
 and so I decided not to pay my ticket so that I would be considered ‘wanted’ in Deadwood. So I wrote a song about it.” 

    I love the pace, the mood, the energy, the fantastic guitar solo and the song being both energetic but radio friendly and easy listening, with a fantastic sound as well. Give it a go by clicking on the Spotify player below and follow Club Wagon Creek if you like what you hear.

  • Premiere: Sweet Teeth Drop New Video “Goodbye To Love”

    ‘Goodbye To Love’ is the second single and video taken from Sweet Teeth’s upcoming album ‘The Void That