San Vito Ryder’s Room Two Five sounds as if somebody checked into a cheap motel with a guitar, a cracked nerve, and enough unpaid emotional rent to keep the front desk suspicious until sunrise. Ryder, a London-based alternative artist raised between London and Cork, has been calling his zone “Black Drip Blues,” which is the sort of phrase you either roll your eyes at or accept because, frankly, what else do you call this stuff? It is rock ’n’ roll with the curtains drawn, post-punk boiled down to bare wire, gothic tension with a hangover and a faded, failing key card.
Ryder takes a grand idea – isolation turning into theatre – and keeps it mean, lean, and slightly absurd. There is a little Nick Cave in the theatrical stink, a little Birthday Party in the bad wiring, a little Smashing Pumpkins in the guitar abrasion, and maybe a little Nirvana in the cockroach skittering over the bathroom sink.
“The song came from thinking about the strange rituals people create when they’re isolated for too long,” he says. “In Room Two Five, the motel room becomes a stage where boredom, paranoia and self-invention all start bleeding together.”
That is the setup, and the track follows through with a pleasing lack of polite behaviour. Produced by Kristian Bell of The Wytches at The Hit Dungeon in Peterborough, Room Two Five has a dry, nasty kick, like a busted AC unit rattling beneath a window that looks out over a construction site. The guitars arrive with a burnt-chrome scrape, while Ryder’s raw, rough voice rides hard over the top.
The video, directed by Simon Hedges, strips the scene down further. Shot in black and white, it places Ryder in a sparse room, seated in a cane chair, performing straight into the camera with manic intensity. The monochrome look makes the performance feel blunt and almost embarrassingly direct, as if the clip has decided decoration would only get in the way of the twitch. Ryder stares, sings, and works the frame as though he is hosting a cabaret for one person – which could very well be himself after three days without proper sleep.
Room Two Five sharpens Ryder’s speakeasy punk pose into something more convincing: a song about artificial intimacy that has the good sense to sound slightly unwell. It turns a motel room into a cheap little chapel for boredom, delusion, and self-invention. Amen, check-out is at eleven.
Watch the video for Room Two Five below:
Listen to Room Two Five below:
Catch San Vito Ryder on tour throughout the UK, including the Y Not? Festival.
Tour Dates:
June 10 — Old Blue Last — London (Single Release Show)
July 25 — The Washington — Sheffield (Tramlines Fringe)
To promote their upcoming studio album Souls Of The Fallen, due on June 26th, power metal ensemble Prime Creation present a video clip for the third and last single “Ashes Of Trust”. Read more…
Alter Bridge have announced the second leg of their ‘What Lies Within’ tour across the United States. The 18-city trek will go through in November and December with Canadian rock outfit Big Wreck and Tim Montana as support. Read more…
Legends of modern heavy music, Killswitch Engage return to Australia and New Zealand in 2026, bringing more than two decades of genre-defining metal to the stage with their biggest Antipodean headline shows yet, joined by special guests, British heavyweights, Sylosis.
The Western Massachusetts metallers helped redraw the map for modern metal in the early 2000’s, fusing blistering European‑inspired guitar work, East Coast hardcore energy and emotionally charged, uplifting lyrics into a sound that changed the game for a generation of bands and fans.
Across a landmark career, Killswitch Engage have earned three Grammy nominations for Best Metal Performance, multiple gold and platinum records, billions of streams and forged a reputation as one of the most powerful live acts in heavy music. From classic albums like Alive Or Just Breathing, The End of Heartache and As Daylight Dies through to chart‑topping releases Disarm the Descent, Incarnate and 2019’s Atonement, they’ve consistently raised the bar while packing out venues and festival main stages around the world.
Fresh from celebrating 25 years as a band and the release of their latest album This Consequence, which featured blockbuster single “I Believe,” the biggest radio hit of their career, Killswitch Engage are set to deliver a career‑spanning set for their Australian and
New Zealand fans.
Expect a night that runs from era‑defining anthems to new favourites, all delivered with the intensity and heart that has seen them share stages with everyone from Iron Maiden and Slayer to My Chemical Romance, Mastodon, Slipknot and Parkway Drive.
This track begins with a kind of pioneer chant, led by the singer’s angelic voice. However, don’t be misled by the opening serenity. Within moments, the band thrusts you into their vibrant punk realm. The song erupts with a driving rhythm that is playful and ironic. The guitars push forward, prompting listeners to raise their horns to the sky.
“30 Dolls” is a fierce political diss track that takes direct aim at Trump. St. Divine presents their critique with boldness and a lack of hesitation. They leave no stone unturned, addressing domestic and foreign policy issues in a snarling outcry. The lyrics are sharp and wrapped in irony, offering insights on current events.
At one minute and ten seconds, there’s a brilliant pause in the song. This moment creates a suspended atmosphere that enhances the overall experience. Within this brief interlude, the intensity builds, only to explode back into the punk rhythm. This shift deftly demonstrates the band’s skill in crafting dynamic moments.
30 Dolls – Sound and Atmosphere
The lyrical metric showcases classic punk influences. The acidic tones of the guitars complement the rhythm section perfectly. The bass tracks the drums with precision, highlighting the band’s chemistry and collective experience. Each element harmonizes seamlessly, creating a robust and energetic presentation.
Lyrically, St. Divine utilizes sharp wit to deliver their message effectively. They challenge the status quo, questioning politics in America with an unapologetic stance. This approach resonates well with listeners who seek relatability in music today. The song’s humor is biting, making it entertaining and thought-provoking.
Each verse pulses with energy, capturing a range of emotions. St. Divine’s vocal delivery is powerful, intricately combining rage and melody. The singer navigates through the highs and lows, taking the listener along for the ride. Through their raw authenticity, St. Divine embodies the spirit of punk rock.
30 Dolls – Performance and Production
This track is a rallying cry for listeners. The beat and catchy chorus invite community participation. Fans can easily sing along, adding a layer of engagement to live performances.
The production quality is top-notch, allowing each instrument to shine clearly. The grit of the guitars and the thumping bass create a sonorous experience. This clarity enhances the raw emotion embedded in the lyrics.
The band illustrates their message with evocative imagery, painting vivid scenes in the listener’s mind. The audience can visualize the world that St. Divine critiques. Each line feels like a jolt of reality, aiming to provoke thought and discussion.
“30 Dolls” is a dynamic and fervent expression of punk rock ideology. St. Divine fearlessly confronts contemporary issues with sincerity and humor. Don’t miss the chance to experience their audacious spirit through this electrifying single.
Australian pop icons Bachelor Girl take a sparkling walk on the country side with a reimagined take on their 1998 single Blown Away out today, teaming up with fellow Aussie icons Tommy Emmanuel CGP and Ella Hooper to bring this new version to life. The fourth single released from their 1998 debut studio album Waiting for the Day, Blown Away reaches stunning new heights in its reimagined form decades later, also offering another glimpse into the duo’s forthcoming redux album which will showcase an epic array of acclaimed household names bringing their prowess to reimagined Bachelor Girl favourites.
Expanding on the original’s classic 90s-soaked ruminating verses, euphoric choruses and soaring melodies, Blown Away’s 2026 glow-up dazzles with twangs, shuffling percussion and acoustic guitar, injecting Americana flavours while also colliding four of the country’s most renowned musicians. Guitar virtuoso Tommy Emmanuel and Ella Hooper (Killing Heidi) join forces with Bachelor Girl’s Tania Doko and James Roche to breathe brilliant new life into long-time fan favourite track.
“We’ve gone a lil’ bit country/Americana on this third release of our ‘Artist Sessions’,” shares Bachelor Girl’s Tania Doko of the reworked Blown Away. “James and I wanted to extend the collaboration to two artists we’ve shared a long musical history with… this time all the way from Nashville to Violet Town. We just couldn’t resist calling in James’ ol ‘boss’ he thrived with on tour back in the 90s – one of the world’s guitar greats, Tommy Emmanuel, along with fellow 90s effervescent front woman who’s gone a LOT Americana herself – Ella Hooper. The original Blown Away is a crowd favourite live, and now this new version of great friends/artists quite simply makes my soul ‘YEEHAW!’”
Since teaching himself to play as a toddler, Tommy Emmanuel’s first language has been the guitar. Now over sixty years into his career, Tommy remains a global household name, revered as an international master of the solo acoustic guitar, with a GRAMMY Award win in his wake, a staggering back catalogue and a reputation as one of the most versatile and accomplished guitar players on the planet. Still a globe-trotting touring phenomenon, Tommy routinely enamours with his technical wizardry and signature solo guitar playing style, building a sonic universe time and time again armed with a solitary guitar; and the delight for Bachelor Girl to have Tommy on board lending some acoustic prowess for this reimagining of Blown Away is equally echoed by Tommy, enthusing, “What an adventure to play on “Blown Away”, with my friends BG and Ella Hooper. What a cool move to mix acoustic guitar with such a slammin’ powerhouse track! Thanks for having me on there. I am so honoured.”
Award-winning entertainer Ella Hooper is no stranger performing and wowing airwaves and crowds with her captivating vocals and creative finesse. Blazing a trail at an early age as the frontwoman for Killing Heidi, Hooper ticked off chart-topping hits, sold out tours and a #1 debut album, while also becoming the youngest-ever recipient of APRA’s Songwriter of the Year. A seasoned creative across multiple genres, Ella’s songwriting also spans folk, alt-rock, country and Americana, making her addition alongside the country vibes on Bachelor Girl’s reworked Blown Away the perfect fit; and on a song Ella herself has long adored, as she reveals, “it’s not every day you get to be on a track with a fave formative band and an iconic powerhouse! Blown Away has always been my favourite Bachies song live too, I would arrive right when they were playing this song in their set at the never ending Red Hot Summer tour we were on together and it would set me up for the whole evening, I think it’s a real ‘let’s go girls’ kick the door down track, and I can’t believe how they’ve reworked it for me and Tommy to add our slightly country flavours to.. what an honour and a hoot!”
Slated for an August release, Waiting For The Day: Artist Sessions is a complete reinterpretation of the double Platinum Bachelor Girl album that captivated the world back in 1998. Featuring tracks like Buses and Trains, Treat Me Good and Lucky Me, the album set the tone for the band’s legacy and ongoing success. And in 2026, Bachelor Girl will gift fans a completely reimagined version of the album that put them on the map, joined by some of the country’s finest. “We (somewhat audaciously!) began to ask some of our favourite Aussie artists and friends if they would lend their voices and/or instrument to our bucket list project,” beams Tania Doko. “What started with one, became 15 artists on this 15 track Redux album, and we could not be more chuffed they enthusiastically said yes.”
Bachelor Girl has also announced their Waiting For The Day Redux tour which will kick off in their home state playing at The Vine Hotel in Bendigo on Friday July 31, before moving through Yackandandah, Melbourne, Brisbane, Adelaide, Frankston and finishing off in Sydney at The Factory Theatre on October 18. Tickets are on sale now from www.bachelorgirl.com.
Tania Doko and James Roche of Bachelor Girl have proven their enduring, beloved status in Aussie music culture. Their debut Buses and Trains earned James APRA Song of the Year in 1999 and remains one of the most played Australian compositions since its release. The iconic hit also made waves in Asia, Scandinavia, Europe and the US, including a signing by legendary A&R Clive Davis, Arista records. Their critically acclaimed ARIA winning Waiting for the Day album spawned another four releases still on rotation today, including Treat Me Good, Lucky Me, Blown Away and Permission to Shine. With a catalogue defined by exceptional songwriting and soaring vocals, the duo continue to captivate audiences, recently touring alongside legendary acts including Simple Minds, Icehouse and The Corrs.
Blown Away featuring Tommy Emmanuel and Ella Hooper is out today. Waiting For The Day: Artist Sessions is set for release in August.
The album begins with “Shadow Puppets,” immersing listeners in the irreverent, alternative world of the band. They transport us back to the 1990s with their direct and intense sound. Elements reminiscent of bands like Pixies, Hole, and Weezer populate their music. Following this, “Helium” offers a slightly slower pace while retaining the grunge influences that make this ballad intriguing. The intense distorted guitars and the feminine vocals deliver exceptional interpretations that enrich the listening experience.
Next in the lineup is “Strangers,” which elevates the adrenaline with its fast tempo. The chaotic yet cheeky guitar riff embodies echoes of 1960s music melded with 1990s melodies. This track stands out with its unique fusion of influences that evoke nostalgia while feeling fresh. “Misery” captures another facet of the band. Its rhythmic cadence and the almost idyllic voice channel a mirage-like atmosphere. The delicately psychedelic ballad showcases an engaging depth.
Then we have “Only a Smile Remains,” a minimalist piece featuring just vocals and piano. This structure, stripped to its essentials, underscores the solid compositional quality of their music. The singer’s distinctive voice conveys emotions, making even the simplest arrangements feel powerful.
When and How It Happened – Sound and Atmosphere
“Lost for Words” presents another interesting sound. It bears influences similar to Radiohead, featuring one of those nostalgic ballads that in my mind painted vivid imagery of a foggy meadow. The atmosphere is reflective and introspective, pulling listeners into a contemplative space.
Closing the album is “If You See My Baby.” This track shifts focus from the female vocalist to a male voice, offering a heartfelt acoustic folk ballad. It evokes the traditional music of pioneers, stripped of elaborate arrangements, relying solely on guitar and voice. This ending provides a fitting conclusion, leaving many possibilities open for the band’s future compositions.
This album is a beautiful blend of nostalgia, emotions, and unique musicality. It showcases the band’s ability to surprise with each song while maintaining a coherent identity. The diverse musical styles presented throughout the album cater to various tastes, allowing it to resonate with a wider audience.
The historic performance will take place on November 7th at the Mercado Livre Arena Pacaembu, featuring special national and international guests in a definitive celebration of the band’s legacy. Tickets for the general public will be available from 30th May via ticketmaster.com and at the official box office.
After more than four decades of bringing Brazilian heavy music to the world’s biggest stages, Sepultura have officially announced the final show of their career. The historic performance will take place on 7 November 2026 at the Mercado Livre Arena Pacaembu in São PauloBrazil, marking the end of one of the most influential journeys in the history of heavy metal worldwide.
The choice of the Mercado Livre Arena Pacaembu holds special meaning for the band. The venue has been part of Sepultura’s history since the early 1990s, especially because of the iconic concert held at Praça Charles Miller, in front of the stadium, which helped establish the band’s strength in Brazil. Decades later, Sepultura returns to the same place to close its story, where part of that legacy was also built.
More than a farewell concert, the night is being conceived as a grand celebration of Sepultura’s history, bringing together different generations, eras and artists who have become part of the band’s journey over the past 40 years. The idea is to transform the final show into a unique moment of tribute, connection and celebration of Brazilian heavy music and its global impact.
Among the international acts already confirmed is Metal Allegiance, featuring some of the most respected musicians in the global metal scene, including Mike Portnoy of Dream Theater, Alex Skolnick and Chuck Billy of Testament, Phil Demmel, formerly of Machine Head, Troy Sanders of Mastodon, and bassist/founder Mark Menghi.
The line-up will also feature confirmed appearances by Krisiun, one of the world’s most respected death metal bands, and American thrash metal band Sacred Reich. Additional special guests will be announced soon.
Former members and musicians connected to Sepultura’s history over the decades are also expected to join the celebration, including Jean Dolabella and Jairo Guedz, who were part of the band’s original line-up.
Formed in Belo Horizonte in 1984, Sepultura helped redefine the boundaries of heavy metal and became the most internationally recognised Brazilian rock band of all time. Through landmark albums such as Beneath The Remains, Arise, Chaos A.D. and Roots, the band influenced generations and opened doors for Brazilian heavy music worldwide.
Throughout its career, Sepultura performed at some of the world’s most important festivals, including Rock in Rio, Lollapalooza, Wacken Open Air, Hellfest and Download Festival, building a legacy that transcends metal and has a permanent place in music history.
Sepultura’s final show at the Mercado Livre Arena Pacaembu promises to be a historic, emotional and unforgettable night, a farewell befitting the band’s importance to both Brazilian culture and the global heavy metal scene.
SEPULTURA are:
Derrick Green – vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Greyson Nekrutman – drums
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