Next month, the great avant-pop adventurer Kelela will release the new album new avatar, her follow-up to 2023’s Raven. The new LP features contributions from people like PinkPantheress, Fousheé, and A. K. Paul, and we’ve already heard the early singles “idea 1” and “linknb.” Today, Kelela announces a tour and shares another new track. As…
The post Kelela – “point blank” appeared first on Stereogum.
Employed To Serve have shared their first new music since the release of 2025 album ‘Fallen Star’, and it is an absolute piledriver.
Titled ‘Dead Reckoning’, it is everything that modern heavy music should embody and exhibit. A riff that feels akin to the most brutal of deathcore, matched with the sort of grandiose and hedonistically gritty breakdowns, it pummels you from beginning to end in some style. But the most impressive part is just how brilliantly melodic it still feels. It’s that sort of control of your own chaos that sets the band apart again and again, especially when it concerns output as furious and unrelenting as this.
Guitarist Sammy Urwin had this to say about it:
“When the track was being written, it was one of those situations where it exploded into existence, rather than having been carefully crafted“.
Whilst vocalist Justine Jones had this to add:
“Dead Reckoning definitely taps more into our darker side and serves as a conduit to blow off steam. We hope the listeners get the same release from the track that we do.”
It’s fucking beast, basically,
The band recently released a video for their ‘Fallen Star’ track ‘Now They Kingdom Come’, which looks a lot like this:
The post Employed To Serve Share Punishing New Track ‘Dead Reckoning’ appeared first on Rock Sound.
Rush return to the road in June, with the tour opening on 7 June 2026 in Los Angeles. For a band whose fanbase has followed them through five decades of musical evolution, the announcement sparked something profound. MetalTalk’s Paul Hutchings spoke to fans, tribute artists, event organisers and our own writers to capture what this moment means to those who have lived and breathed Rush for a lifetime. This is their story.
It is 9 pm in the UK but only 2 pm in Nashville as I connect with Rayna Leigh, one of MetalTalk’s US-based writers and photographers. She is sporting her most treasured possession: a Signals tour shirt from the original 1982 Rush tour. This moment presents the perfect opportunity to delve into Rayna’s journey into the world of Rush, a journey quite different to my own, given her youth.
“This is my prized possession. I think I’ve worn this maybe three times in my life because it’s an actual tour shirt from the Signals tour,” she shares.
Rayna’s story continues with an anecdote about her uncle, whom she describes as “way cooler than me.” He attended numerous Rush tours, collecting shirts from every single one and eventually gifting them all to her. All except the Signals shirt, which he held onto until Rayna proved her devotion as a Rush fan.
“He gave me a whole duffel bag of all his concert shirts, a bunch of Rush stuff. But this one, he was like hanging on to. And then, when I finally truly proved to him that I was the ultimate little Rush girl, he was like, all right, here you go. Here’s the Signals shirt. And I was like, yes. I have achieved top-tier status here.”
Among her collection, she notes that the Roll The Bones tour shirt is her most frequently worn, while her Presto shirt had to be retired due to its delicate condition. She also owns shirts from Hold Your Fire and Test for Echo, though she wears them less often.
Despite her uncle’s enthusiasm for Rush, Rayna’s introduction to the band did not come directly from him. She grew up listening to FM radio, absorbing music from the 1950s through to the ’80s and ’90s. Her parents were not Rush fans, so Rayna’s early exposure was limited to hits like Spirit Of Radio.
She recalls her youthful impatience: “I did not have the attention span as a younger kid. I was like, this is more than six minutes long. No, thank you.” Things changed when she befriended a drummer in her first class, who was passionate about Rush. He urged her to listen to 2112, insisting it was essential for their friendship.
That night, Rayna listened to the album in her college dorm and said she experienced a profound, almost spiritual connection. The storytelling in 2112 resonated deeply, sparking her love for Rush’s lyrical complexity. She describes how she listened to several albums, Hold Your Fire, Permanent Waves, and Caress of Steel, in one sitting, exploring vastly different sounds.
Over time, her tastes broadened, and she developed an affection for songs she initially disliked, attributing her passion to the band’s intricate storytelling and intellectual depth.
Our conversation shifts to live performances. Rayna sadly admits she never saw Rush with Neil Peart, as she only became a fan after their touring days had ended. Her parents’ lack of interest in Rush meant she missed the opportunity, though her father did attend a Snakes and Arrows tour show when she was too young to join him.
“I really wish that I could have gotten to see them with Neil. Obviously, that’s kind of one of those great misses that, as a fan, it’s like, oh, almost everybody else that is a Rush fan at this point can say they saw them at least once with Neil.”
The impact of Neil Peart’s death was profound. Rayna describes it as a “Kennedy moment,” a significant event etched in memory. She was on a train, either returning to or heading for college, when she received the news.
“I know exactly where I was when I heard it. And that was a bad day.” As one of the few female Rush fans among her friends, she was inundated with messages as everyone grappled with the loss. Though she was not yet as devoted a fan as she is now, the event felt monumental. “You just know that something massive has been lost. It’s a disturbance in the force kind of thing.”
With the news in October that Rush would return, the debate over the band’s identity intensified. Rayna initially struggled with whether it truly was Rush without Neil. “My trigger instinct was this is not Rush without Neil. But I kind of sat back and was like, no, it is.”
She explains her difficulty in accepting any band as ‘the band’ when a key member is absent, drawing parallels to her experience seeing AC/DC with Axl Rose. Ultimately, she says she reached a point of acceptance, recognising the heart and intention behind the reunion.
Even so, she acknowledges it will not replicate the experience of seeing Rush with Neil but appreciates the opportunity to witness the band again. She also reflects that she would have been content with the group being called the “Lee and Lifeson Project,” so long as the spirit of Rush was present.
As with all my interviews, we cannot avoid the ticket prices. Our conversation turns to the difficulties of attending Rush’s concerts, particularly the prohibitive cost.
Living in Nashville, Rayna faces the additional burden of travel expenses, as the band is not performing locally. “I am not at the point of being able to sell my kidney on the black market to afford tickets,” he says. “My biggest thing is I live in Nashville. They’re not coming to Nashville. So, no matter what, beyond the price of the ticket, I would have to factor in travel costs.”
Even nosebleed seats are expensive, forcing her to choose between seeing Rush and paying rent. She considers a last-minute decision to attend a show in Atlanta, but the logistics and costs remain daunting.
Other venues, such as the Hard Rock Hollywood in Florida, are even pricier, with the cheapest tickets costing multiple hundreds of dollars. The closest feasible option is still a four to five-hour drive away.
Rayna notes that while some fans can afford to attend multiple shows, she is limited by her recent entry into the workforce and minimum wage earnings.
It is incredibly disappointing that the pricing model has effectively excluded younger fans and families, a point echoed by others who recall more affordable and inclusive experiences in previous decades.
Rayna laments the evolving nature of concerts, citing increased security, restrictions on standing, and the diminished value of meet-and-greets, which now require substantial payment. As she observes, families no longer have the opportunity to attend Rush concerts together without financial strain.
“I’ve made my peace that if I see them, I see them. If I don’t, it is what it is. But I feel worse for the whole families that aren’t going to be able to see it or must choose between, you know, seeing Rush and having an actual real family vacation or something.”
She also points out that the overall concert experience has diminished, with fans paying more for less. The camaraderie and accessibility of past tours have faded, replaced by a system that prices out many loyal followers.
This is a theme that I think has come through in all interviews and is clearly something that many are rightly frustrated by.
As a photographer, Rayna holds hope for gaining entry to a Rush concert through her professional connections. She has approached magazines she has contributed to, acknowledging it’s a “very long shot.” Success hinges on the band’s approval process for photographers, but she remains optimistic, citing previous instances where her colleagues gained access to major shows.
Even if only granted a review ticket, she’s willing to make the journey and share her experiences as a writer. “I would love to photograph them, but if they said it’s a review ticket only, I would… make the travel arrangements to be able to just write about it.
“Because I am a writer, I would be happy to just describe the experience. But I would love to talk about like an experience I don’t think I’d have ever dreamed of having at all if I got to photograph Rush, that would be beyond, beyond anything.”
A couple of days before we caught up with each other, Rush as they now are made their debut at the Juno Awards. We reflect on our enjoyment and note the strategic choice of song. Finding My Way, the first song from the first album, which did not feature Neil Peart.
We both felt that this decision allowed new drummer Annika Niles to demonstrate her abilities without immediate comparisons to Neil’s iconic performances. The selection of Finding My Way symbolised the band’s journey back to performing.
“You know, she’s not immediately stepping into Xanadu or Limelight. I think that was a very good sort of springboard of, hey, look, Anika can prove herself, but also, Geddy and Alex can prove themselves”.
We were both happy to see the cohesion between Geddy and Alex. We discuss how we found Alex’s guitar work particularly impressive and acknowledged that Geddy’s vocals have changed over time, but improved as the song progressed.
Looking forward, Rayna is excited to see more performances featuring Neil’s parts, recognising that these will be the true test for the new line-up.
“I look forward to seeing them step up and up from the first album to deeper stuff. My crazy pipe dream is I want to hear everything from Counterparts. I want to see more Counterparts love. Because I think that musically, that’s one of the heaviest albums and I think that on a live stage, it would go over very well. Especially with Annika, who has a pretty deep horizon of she likes prog, but she enjoys heavier music. She can do this and that. I feel like that’s a very good space for her to really shine.”
We both agree that the band will need to adapt, with shorter two-hour shows and an intermission, rather than the endurance-testing marathon sets of previous tours.
“I think the great thing about Rush is that they have always utilised their stage setup and the back screen projections in a way that keeps a show flowing even if they’re not playing. So, like using the South Park stuff or the I Love You, Man. Like all those things keep a show going and keep people entertained while they’re able to recuperate for like five minutes, and give themselves that breather.
“But I think the set list is going to be more of just a greatest hits type thing. Similar to Time Machine, but I don’t know that we’re going to hear anything from Test For Echo. I don’t know that we’re going to hear anything from Snakes And Arrows. I would think that they would, especially for Neil, do something from Clockwork Angels.”
My sincere hope after this interview is that Rayna can get to one of those shows. Who knows, with a bit of luck, she can get the elusive photo pass too. Dreams may come true. Fingers crossed.
Rush’s tour opens on 7 June in Los Angeles, where Geddy Lee and Alex Lifeson will be joined by Anika Nilles on drums and Loren Gold on keyboards. Further articles in this series, including interviews with Rushfest Scotland, tribute band Rushed, and the Something for Nothing Rush Fancast, will follow in the coming month.
To read our Rush At 50 series, click here.
For UK ticket sale information, visit: https://www.aegpresents.co.uk/event/rush.
The song begins with a beautiful, atmospheric piano. Following this introduction, an intricate and fast-paced drum rhythm enters, creating an unexpected shift in energy. This complex rhythm is rich and perfectly complements the piano’s chord progressions—the vocals layer on top with a melodic intensity that feels almost dystopian. The interesting combination of this prominent, fast tempo with the melodic voice creates an engaging contrast.
This track is chaotic and innovative. It alternates between melodic sections and moments of vocal screaming, each adding depth to the composition. The song presents an intriguing mix of various influences, taking listeners on a dynamic journey. The overall sound could be described as almost heavy baroque, given its rich arrangements and colorful textures.
Around the two-minute mark, the song pauses briefly. This sudden break allows listeners to catch their breath. It is followed by a moment solely featuring the piano, which adds a reflective touch. After this calming interlude, the song resumes its push, building momentum once again.
At approximately two minutes and forty-five seconds, the song takes another turn. It momentarily strips back the layers, leaving only a suffocated beat that adds tension. This leads into the epic outro, where the piano returns to play its melody. This final section leaves listeners wanting to press the play button once more.
The transition from one musical idea to another demonstrates unique creativity. Each twist and turn in the arrangement keeps audiences engaged and guessing what might come next. The song reflects influences from various musical traditions while maintaining a unique identity.
Listeners might find themselves caught off guard by the sheer energy of the drums. The fast-paced rhythm holds an infectious quality that entices movement. In contrast, the melodic sections provide a moment of respite, allowing listeners to connect on a deeper emotional level.
Overall, the instrumentation is carefully layered. The drum patterns provide a frantic backbone, while the piano casts a soothing spell. These sounds interlace, drawing listeners into a rich auditory experience. The vocal delivery adds a distinctive character, enhancing the song’s depth.
“Die Gestalt der Fügung verharrt unverrückt” stands as a vibrant contribution to contemporary music. Its dynamic structure and intricate compositions make it a worthwhile listen. Audiences will likely be intrigued by the chaotic and introspective moments within the track. This balance of energy keeps the experience fresh and engaging.
This single is an invitation to explore the depth of sound created by this musical project. It encourages repeated listens, offering something new with each encounter.
Dynamic
If you love this music: Discover MoreThe post Watch Me Die Inside Die Gestalt der Fügung verharrt unverrückt Review appeared first on Edgar Allan Poets – Noir Rock Band.
Last month, Björk played a surprise DJ set at the Venice Biennale and announced that she’ll release a new album sometime this year. She also announced plans for Echolalia, a new immersive exhibit at Reykjavík’s National Gallery Of Iceland. It’s built around reimagined versions of “Ancestress” and “Sorrowful Soil,” two mournful songs from Björk’s 2022 album Fossora, as well as a demo version of a new song called “Nerve Bloom.”
The post Björk Previews New Song “Nerve Bloom” At Echolalia Opening appeared first on Stereogum.
Hayley Williams seems to really be enjoying the freedom of life after Atlantic Records. Last year the Paramore frontperson enacted a fun, unconventional rollout for her excellent solo album Ego Death At A Bachelorette Party, released on her own pointedly named independent label, Post Atlantic. She’s been on a rapturously received tour in support of the album this year, and it’s about to evolve into a new production called the Hayley Williams Show for the fall, a variety show of sorts featuring special guests and songs from throughout her solo catalog. Meanwhile, she’s been introducing a new musical venture called Power Snatch.
The post Hayley Williams & Daniel James’ Power Snatch Share New Music Set To <em>Valerie And Her Week Of Wonders</em> appeared first on Stereogum.
The song “I’m Still Alive” delivers a ritualistic and slightly visionary journey. The choice of sounds is truly fantastic, stimulating neurons and conjuring dreamlike visions. The vocals are sung in a delicate and hypnotic manner, reminiscent of an intriguing blend between Beck and Kula Shaker at various moments. In the instrumental backdrop, hints of Moby’s style emerge, reflecting a broad musical influence.
This artist possesses a unique essence that shines through. The flow of the music is occasionally interrupted by bursts of white noise. This element serves to pull listeners out of their trance, reminding them that this experience is rooted in reality. The track emerges not just as a song but as a ritualistic and hypnotic experience. It transports listeners into a kaleidoscopic world, akin to a mirage that gradually envelops and lifts them into its sphere.
The production quality stands out, showcasing intricate details that enhance the listening experience. Each sonic element is meticulously crafted to create an atmospheric environment. This combination invites listeners to lose themselves within the auditory journey. With its engaging rhythm and melodies, the track maintains a steady pace that fosters immersion.
The enchanting vocal delivery is a critical aspect of the experience. The artist employs soft modulation and nuanced phrasing that captures attention. Moments of silence punctuate the song, enhancing the impact of the lyrics. The voice weaves through the instrumentation, acting as a guide and a signal to remain grounded.
Ritualistic elements are further emphasized through rhythmic pulses that echo throughout. These beats create a heartbeat-like sensation, ensuring the song remains dynamic and engaging. The mixture of organic and electronic sounds contributes to the overall atmosphere. The listener is drawn into an auditory world that feels both expansive and intimate.
The artist’s vision distinguishes their work from others in the industry. This originality is evident not only in the composition but also in the thematic elements. The incorporation of diverse influences showcases a willingness to explore different sonic realms. It’s a fresh take that breaks conventional boundaries and invites listeners to expand their musical horizons.
The pacing of “I’m Still Alive” contributes significantly to its hypnotic quality. Throughout the song, a gradual build provides a sense of movement. It feels like a journey unfolding rather than just a song playing. This immersive approach leads the listener into a state of relaxation and contemplation.
“I’m Still Alive” is a great piece by an artist who fuses visionary elements with modern electronic sounds. It’s a beautiful exploration of resilience and existence wrapped in engaging musicality. This track deserves recognition for its innovative approach and captivating execution.
Transcendent
If you love this music: Discover MoreFor fans of:
Beck • Kula Shaker • Moby
The post Body I’m Still Alive Review appeared first on Edgar Allan Poets – Noir Rock Band.
Recommended for fans of: Celeste, This Gift Is A Curse, LLNN Call them what you will… Sludge, Post-Metal, “Negative Hardcore”… there’s no question that this band, by any other name, would still sound just as dark and heavy. That name, by the way, is Erdve, and the band in question hail from the balmy Baltic shores of […]
The post THE SYNN REPORT (PART 195): ERDVE appeared first on NO CLEAN SINGING.