Black Leather Birds of Children and Their Sorceries Review

The opening track, “Nothing Ever Grows Here,” creates a dark and industrial atmosphere. The vibes are dystopian and hypnotic. A dialogue unfolds between a man and a woman. The initial interaction creates a thrilling and sinister dynamic. At one minute and ten seconds, the song takes a dream-like pause, akin to a mirage. It then catapults listeners back into the underground and bleak universe established at the beginning.

Following this, “Monster” emerges as something experimental and unique. Listening to this track with headphones can incite fear, thanks to the sinister vocal effects. The sounds are avant-garde and extraordinary. This song exemplifies the artist’s willingness to push boundaries in his music.

“The Box” presents a groove that feels almost plastic. The vocals tell a story revolving around a mysterious box. This narrative feels more like an audiobook than a traditional song. The cinematic quality of the piece creates a vivid experience, transporting listeners to another realm.

of Children and Their Sorceries – Sound and Atmosphere

The track “Almost” maintains the dystopian vibe established earlier. The syncopated rhythm shares a resemblance to the style of Nine Inch Nails, though it stands on its own merits. It is an intensely visionary composition, and the chosen sounds elevate the futuristic feel. The seamless integration of innovative elements contributes to a remarkable auditory experience.

“Goodnight My Darling” opens with a rhythm that resembles a heartbeat. This track feels more like a lullaby, offering a delicate contrast to the previous songs. It is instrumental, featuring a xylophone that cradles the listener, yet the presence of sibilant sounds introduces an unsettling undertone. The ambiance shifts at times, creating an eerie atmosphere. Breathing sounds intermittently appear, evoking the feeling of a lurking presence. This tension resonates throughout the experience, leaving one with a lingering question.

A.G. Syjuco is the architect behind this musical project, and he exhibits a strong desire to experiment. The EP is a fantastic collection that inspires listeners with its uniqueness. Each track is distinct, yet they collectively form a cohesive journey into a cryptic world.

of Children and Their Sorceries – Performance and Production

Throughout the EP, listeners are encouraged to confront their emotions. The aesthetics of the music provoke thought and introspection, and they challenge conventions in contemporary music. Black Leather Birds invites audiences to engage deeply with the thematic content. The collective listening experience is a thrilling engagement with the unknown.

The effort to create an engaging listening experience is evident, making this EP a must-hear for anyone interested in experimental music. The ability to transport the audience into an alternate reality demonstrates the skill and creativity of Black Leather Birds.

Surpassing trends, this work possesses a refreshing authenticity. The fearless approach to different musical styles and themes underlines the importance of innovation in today’s music scene. Black Leather Birds presents a significant contribution to the genre.

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You may have previously noticed Catskills singer-songwriter Keenan O’Meara on the periphery of this website, listed in passing as an opener for Zach Bryan’s stadium tour or directing a video for fellow Upstate New York folkie Hannah Cohen. Today, let’s move him to center stage for a moment. About a month from now, O’Meara will…

The post Keenan O’Meara – “Halley’s Comet” appeared first on Stereogum.

GRAMMY nominated guitarist and songwriter Samantha Fish is pleased to announce the release of her new live single “Paper Doll (Live)” taken from the album of the same name. The single is released today and is accompanied by a live performance video that can be viewed on YouTube HERE.

Paper Doll Live, the album, will be released Friday June 12th via Rounder Records and is available to pre-order HERE.

Fish’s first official live album, Paper Doll Live captures the electrifying stage presence that has made her one of the most compelling performers in modern blues and roots music. Recorded at the historic Bijou Theatre, the album documents a band firing on all cylinders in front of a packed crowd, elevated by the soaring harmonies of Nashville gospel legends The McCrary Sisters.

The two-time GRAMMY nominee has built her reputation the old-school way: onstage, with a live show critics have called “wild, raunchy… an absolute must-see” (Louder Than War) and praised for its “savage guitar work and commanding stage presence” (Blues Rock Review). Paper Doll Live captures that energy in full force — raw, immediate, and impossible to fake.

From towering performances of “Lose You” and “Sweet Southern Sounds” to a blistering rendition of the MC5’s “Kick Out the Jams,” the album highlights a band fully immersed in the moment — unfiltered, ferocious, and deeply connected to its audience.

“There’s a fire that comes across in live performance that doesn’t always translate in studio albums,” Fish says. “The stage lays all of that bare.”

Emerging from Kansas City’s blues lineage and shaped by influences ranging from Prince and Leonard Cohen to the legends of Mississippi Hill Country blues, Fish has spent her career turning live performance into both proving ground and catharsis. From cold-calling bars as a teenager to headlining international festivals, she has forged a live show that balances grit, vulnerability, and explosive musicianship.

“If Paper Doll was a declaration of artistic power,” Fish says, “Paper Doll Live is the sound of that power unleashed.”

With Paper Doll Live, Samantha Fish delivers more than a concert recording — she captures the visceral connection that has made her one of the most celebrated live performers in contemporary roots music today.

TOUR DATES

TICKETS AVAILABLE FROM – SAMANTHAFISH.COM

5.29   Lebanon, NH – Levanon Opera House
5.30   Augusta, NJ – Michael Arnone’s Crawfish Festival
5.31   Buffalo, NY – Babeville
6.19   Grolloo, Netherlands – Holland Intl Blues Festival
6.20   Dortmund, Germany – Musiktheater Piano
6.21   Chiari, Italy – Istituto Salesiaino “San Bernadino”
6.23   Loceri, Italy – Parco Urbano
6.25   Rubigen, Switzerland – Muhle Hunziken
6.27   Vienne, France – Jazz a Vienne
6.28   Erlangen, Germany – E-Werk Kino
6.30   Mannheim, Germany – 7er-Club
7.01   Aschaffenburg, Germany – Colos-Saal
7.02   Hamburg, Germany – Fabrik
7.04   Helsinki – Puisto Blues
7.23   Rochester, New York – Martin Luther Jr Memorial Park at Manhattan Sqaure
8.14   Lincoln, CA – Thunder Valley Casino Resort
9.11   New Braunfels, TX – Brauntex Performing Arts Theater
9.12   Dalas, TX – The Kessler Theater
9.13   Houston, TX – The Heights Theater
9.16   Colorado Springs, CO – Phil Long Music Hall
9.18   Boulder, CO – Boulder Theater
9.20  Telluride, CO – Telluride Blues & Brews Festival
9.23   Monterey, CA – Golden State Theater
9.24   Napa, CA – Uptown Theater Napa
9.25   San Luis Obispo, CA – Fremont Theaer
9.26   Grass Valley, CA – The Center For the Arts
9.27   Menlo Park, CA – The Guild Theater
9.29   Portland, OR – Revolution Hall
10.3   Everett, WA – Kings Hall Everett
10.4   Sandpoint, ID – Panida Theater Inc
10.31 West Hollywood, CA – Whisky A Go Go***

***with Jesse Dayton and Indio Downey

PRE-ORDER “PAPER DOLL LIVE”
AVAILABLE ON VINYL, CD & DIGITAL

SAMANTHA FISH
WEBSITE | FACEBOOK | X | INSTAGRAM | YOUTUBE | SPOTIFY | TIKTOK

The post SAMANTHA FISH Releases Title Track Single & Music Video “Paper Doll Live” From Upcoming Live Album appeared first on The Rockpit.

Biotech is for the Cavalera tours.

The post Soulfly Announce ‘Tribal Technology’ Summer European Tour appeared first on Theprp.com.

German hard rock legend SINNER present the energized new single “Wait” alongside a music video. This is the first single to land from the band’s forthcoming, and final, full-length studio offering, Boom Bang Goodbye. The album will arrive on July 31, 2026, via RPM. For over four decades SINNER have delivered massive hooks, powerful guitars, emotional depth and pure hard rock energy with an uplifting sound, and “Wait” is no different.

Listen to ‘Wait’:
SINNER – WAIT

On the new single “Wait”, Mat Sinner shares: “For the first song from the album, I wanted a positive good-time track that simply puts people in a good mood. The political madness we’re living through doesn’t need another depressing soundtrack. ‘Wait’ is also a very representative song for the entire album. Working with Michael Bormann again after 10 years immediately clicked — the chemistry was there right away. And just like on the whole album, there’s an unbelievably great performance from drummer Moritz Müller and my partner Alex Scholpp, plus the absolutely brilliant mix by my friend Jacob Hansen. Mat was 100% happy!”

The video for “Wait” also captures the song’s positive energy, welcoming the summer with ease, optimism and feel-good vibes.

With Boom Bang Goodbye, SINNER enter the final chapter of an extraordinary career. Since 1982, the band led by Mat Sinner has been one of the most consistent forces in the German hard rock and metal scene. Following 19 studio albums, international tours and most recently the successful album Brotherhood, the band is set to end on a high note.

For this final statement, Mat Sinner has once again gathered an epic lineup of longtime companions and high-profile guests. Alex Scholpp (guitar) and Moritz Müller (drums) provide the album’s powerful foundation, joined by Jim Müller of KISSIN’ DYNAMITE, Lisa Müller, and former SINNER bandmate Mathias Dieth, who performed on the influential early albums Comin’ Out Fighting and Dangerous Charm. Another renowned guitarist on board is Magnus Karlsson — closely connected to Mat Sinner through the PRIMAL FEAR camp — who also contributes vocals on Boom Bang Goodbye.

Album Pre-order:
Boom Bang Goodbye Pre-Order

All-star appearances on Boom Bang Goodbye continue with vocal performances from Ronnie Romero (RAINBOW), Michael Bormann, Michael Sadler (SAGA), Björn Strid (SOILWORK), Erik Mårtensson (ECLIPSE), Renan Zonta and Sascha Krebs. Each guest brings their own distinctive touch to the track list, making the album an impressive gathering of international hard rock and metal greats.

Mixed and mastered by Jacob Hansen at Hansen Studios in Denmark, the album combines modern heaviness with classic SINNER DNA. Every song bears the unmistakable signature of Mat Sinner as a musician, songwriter and personality who has helped shape the European metal scene for decades.

Boom Bang Goodbye will be released on July 31, 2026. The first single, ‘Wait’, is available now on all platforms.

Don’t wait – pre-order, press play, repeat.

The post SINNER Release First Single ‘Wait’ From Final Studio Album ‘Boom Bang Goodbye’ appeared first on The Rockpit.

Armored Saint will join Metal Church for a North American co-headlining tour this Fall! The Metal Saint Tour 2026 will commence on November 2nd in San Juan Capistrano, California and runs through November 21st in Agoura Hills, California. Additional support will be provided by LiveKill. Comments Armored Saint vocalist John Bush, “Two classic metal bands […]

The post Armored Saint Joins Metal Church On North American Co-Headlining Tour This Autumn appeared first on ROCKPOSER DOT COM.

Ever since Donald Trump announced he was renaming the Kennedy Center after himself, the pushback has been relentless. Philip Glass, Renée Fleming, Chuck Redd, and Kristy Lee were among many acts to cancel events at the “Trump-Kennedy Center,” and the Washington National Opera left the venue after 55 years. In February, Trump revealed he was closing the center for two years for renovations. Today, a federal judge ordered Trump’s name off the Kennedy Center and blocked the planned closure.

The post Judge Orders Trump’s Name Off Kennedy Center, Blocks Closure appeared first on Stereogum.

Bb trickz is tearing it up. Last week, the Spanish musician released her first single on Columbia Records, “Le Le,” produced by Hudson Mohawke. Today, she’s already back with a follow-up: “A La Mala,” also produced by Hudson Mohawke. This time, she leans even harder into a chaotic, high-energy palette, built around a sample of…

The post Bb trickz – “A La Mala” appeared first on Stereogum.

Men Are Like Potato Chips is the kind of song that announces its thesis before you press play. The title alone tells you the track will be funny, flirtatious and built around a metaphor that could easily collapse under its own novelty. But Anni Piper is too seasoned a performer, too sharp a songwriter and too technically grounded a musician to let that happen. Instead, the title track from her first album in six years turns a cheeky one-liner into a full-bodied blues-country-cabaret performance about appetite, autonomy and the pleasure of refusing to edit yourself down. Piper’s backstory matters here because the track sounds like the work of someone who has earned the right to be this relaxed.

An Australian-born, US-based vocalist, songwriter and bassist, she has been called the First Lady of Blues in her homeland, won Best New Talent at the Australian Blues Music Awards, toured widely across Australia, Canada and the United States, and developed a reputation for smoky vocal authority and serious bass command. Men Are Like Potato Chips does not strain to prove any of that. It simply moves like it knows. The opening groove is immediately persuasive. Drums establish a sensual pocket, and the arrangement builds outward with piano, tuba, percussion and Piper’s bass creating a sound that feels both vintage and slyly contemporary. There is country-blues swagger here, but also a cabaret sensibility: a sense of the singer not just delivering a song, but controlling the lighting, timing and audience reaction. The piano-led feel and brass texture make the song more distinctive, giving its double entendre a wider musical stage. Lyrically, the song sits squarely in the blues tradition of innuendo, but its perspective is crucial.

Piper is not being coy about desire, nor is she dressing it up as victimhood, heartbreak or male fantasy. She is writing from a woman’s point of view with wit and control, turning men into snacks, champagne and irresistible bad decisions. The line between joke and manifesto is thin, and Piper understands how to dance on it. Her vocal performance carries the entire thing. She sings with a smoky, amused authority that suggests both command and play. Men Are Like Potato Chips is not trying to become an anthem by announcing itself as one. It becomes memorable by being specific, embodied and musically alive.

The post SINGLE REVIEW: Anni Piper – Men Are Like Potato Chips appeared first on The Rockpit.

Alex Mather’s Plead The Fifth understands the most important rule of the current country-pop moment: the hook has to arrive like it has already been living in your head. There is no long preamble, no precious scene-setting, no attempt to prove authenticity by underplaying the song’s commercial instincts. Instead, Mather opens with muted guitar and a thin glimmer of slide, establishes the weather, steps into the verse, and then sends the whole thing into a chorus so immediate it feels less written than engineered for mass recall. That could sound cynical. It is not. Plead The Fifth works because Mather has the vocal presence to humanise the machinery. His voice is polished without becoming anonymous, relaxed without turning limp, and charismatic enough to make the song’s central joke land.

The premise is classic country trouble: he has made mistakes, the night got blurry, the liquor did some of the talking, and now he is being cross-examined by someone who is probably too smart to believe him. The legal phrase becomes a drinking pun; the drinking pun becomes a chorus; the chorus becomes the entire moral universe of the track. It is not exactly a song about innocence. It is a song about plausible deniability as a lifestyle choice. That is where the writing has its bite. The production, from Liam Quinn, is big without feeling bloated. The guitars have a bright contemporary-country edge, the drums push hard, and the harmonies give the chorus the lift it needs. The bridge and guitar solo do useful work, breaking the song’s forward charge just long enough to reset the emotional stakes before the final chorus comes in with renewed force. It is all extremely functional, but in pop-country that can be a virtue.

The track knows what it is built to do, and it does it cleanly. Mather’s broader positioning is obvious: Australian country-pop with international ambition, borrowing some of the scale and swagger of modern Nashville while refusing to sound like a tribute act. The references are legible — Morgan Wallen’s grit, Luke Combs’ muscle, the streamlined melodic instincts of crossover pop — but Plead The Fifth is strongest when it leans into Mather’s own easy-going Australian confidence. He sounds like someone who understands that country is no longer a fixed geography but a set of emotional and musical codes that can be translated across borders.

The post SINGLE REVIEW: Alex Mather – Plead the Fifth appeared first on The Rockpit.