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IRON MAIDEN today announce the highly anticipated Australian dates of their critically acclaimed RUN FOR YOUR LIVES WORLD TOUR. Since the band’s first visit to Australia in November 1982, playing to 2000 fans at the Capitol Theatre in Sydney as part of the Beast On The Road Tour, Iron Maiden have returned regularly, playing bigger […]

Harry Styles’ new album Kiss All The Time. Disco, Occasionally arrives next week. So far the pop giant has shared the atmospheric lead single “Aperture,” and tonight Fred again.. debuted the track “Coming Up Roses” during his concert in London.

The post Fred again.. Debuts New Harry Styles Song “Coming Up Roses” appeared first on Stereogum.

Today, the band dropped the video for the first single “SONG OF THE SWAMP” and it’s the most brutal song they’ve released in years — if not EVER!

What populates the thick and humid swamps of Florida? Alligators, anacondas, and other cold-blooded animals that can eviscerate your existence with a single bite. Fittingly, Wage War’s absolutely savage new track, “Song of the Swamp,” sounds exactly like how you would feel if any or all of the above-mentioned predators sank their teeth into your flesh. Rife with bloodthirsty screams, deadly riffage, and pummeling percussion that’ll make you feel like the speedbag at the local boxing gym, it rages from start to finish. You will be, as the lyrics snarl, “overpowered” by every note. And that’s just how metal masochists like it!

Head to the swamp and watch the video here.

“The tone setter,” the band declares. “‘SONG OF THE SWAMP’ is rooted in where we’re from. Driven by Florida and the raw aggression of nature, it’s a heavy track built on tension and hostility.”

Regarding the EP as a whole, the band says, “It Calls Me By Name is about being drawn to your roots. This isn’t a concept EP but is meant to live in its own world. Five tracks shaped by Florida, the swamp, and the relentless aggression of nature. Built heavy, but still driven by the hooks that have defined us. It’s our signature sound amplified and pushed further into metal than we’ve ever taken it.”

IT CALLS ME BY NAME TRACK LISTING:
“SONG OF THE SWAMP”
“4×4”
“BLINDFOLD”
“KARMA”
“PURIFY”

Wage War will waste no time bringing these leviathan-sized new songs to fans, as the band will return to the road this spring on the “It Calls Me By Name Tour,” featuring support from Nevertel and Orthodox. The tour kicks off on April 28 in Phoenix and runs through May 31 in St. Petersburg, Florida. All dates are below. Get tickets here.

WAGE WAR ON TOUR:
WITH NEVERTEL + ORTHODOX:
4/28 — Phoenix, AZ — The Van Buren
4/29 — San Diego, CA — The Observatory North Park
4/30 — Anaheim, CA — House of Blues
5/2 — San Francisco, CA — The Fillmore
5/3 — Sacramento, CA — Ace of Spades
5/5 — Salt Lake City, UT — The Union Event Center
5/7 — Denver, CO — The Ogden Theatre
5/8 — Omaha, NE — The Admiral
5/9 — Minneapolis, MN — First Avenue
5/12 — Chicago, IL — House of Blues
5/15 — Detroit, MI — The Fillmore
5/16 — Pittsburgh, PA — The Roxian Theatre
5/17 — Baltimore, MD — Nevermore Hall
5/20 — New York, NY — Irving Plaza
5/22 — Worcester, MA — The Palladium
5/23 — Allentown, PA — Archer Music Hall
5/26 — Richmond, VA — The National
5/27 — Raleigh, NC — The Ritz
5/29 — Atlanta, GA — The Masquerade (Heaven)
5/30 — Jacksonville, FL — FIVE
5/31 — St. Petersburg, FL — Jannus Live

The post Wage War Announce New EP Out 4/17 Announce Spring Tour + Drop Brutal “SONG OF THE SWAMP” Video appeared first on Go Venue Magazine.

Cloaked in the skin, of flesh and blood and bones
Of the one now buried deep down below
Stand before this copy, move between
Take me by the hand, take this life from me 

There are artists who move between mediums as though crossing from room to room in the same house. E.K. Wimmer wanders that corridor with a steady hand. Known widely for his work as a film composer (particularly his score for the 2018 documentary Scary Stories, which traces the uneasy folklore of Scary Stories to Tell in the Dark), Wimmer has long understood how sound can press against an image until it breathes. In Albuquerque, under the name Blood Relations, that instinct turns inward and burns low.

Drain the Light carries the hush of a chapel before the service begins. A church organ opens and closes the record, tolling in slow arcs, as if marking time for the living and the gone. “Drain the Light has been the longest I’ve ever worked on a record, not just with Blood Relations, but with any solo project or band,” Wimmer says. The songs were written, set aside, returned to, and searched again for the right words. He speaks of shelving tracks, of resuming them after Ritual, of finding the thread at last: “I wanted the whole album to be tied together through this dark church organ, which opens and closes the record, almost like a funeral service. Death has always been a constant theme…however, Eulogy was an album mostly about the loss of my parents, whereas Drain the Light is album about the loss of friends and even the death of oneself to an extent.”

The record settles into a classic Deathrock cadence: lean guitars, graveyard rhythm, guided by the spirit of Specimen, Skeletal Family, Altar De Fey, 13th Chime, and kindred outsiders from Japan, Spain, and Switzerland. Wimmer once allowed Blood Relations to shapeshift freely; here, he chose focus. “It was really important for Drain the Light to not be too many sub-genres shoved together. I wanted a straightforward album that wasn’t too confusing to describe, and so I settled on a classic Deathrock sound.”

Ash recurs in the lyrics: fire’s remainder, cremation’s quiet. He considered naming the album Ashes, but reverence intervened. In Paris, wandering The Louvre, he found instead a sculpture from 1711—The Death of Dido by Claude-Augustin Cayot. Paired with the line drain the light from Crack the Sky, the vision fixed itself. Stone, song, and memory met. The title was waiting.

After the haunting organ instrumental opener All That Remains, Watch Them Fall is a meditation on survival’s burden, steeped in the ache of outliving those once held close. The gloomy musicality is immediate: a haunting deathrock guitar line circles overhead while the rhythm section moves with graveyard patience. Wimmer’s crooning feels like a lone figure howling at the moon, voice stretched between endurance and exhaustion. Each passing feels abrupt, unfinished; ash gathers at the song’s edges.

On Crack the Sky, the tempo tightens, but the mood remains stark, channeling the passionate vocals of Curses here, especially. Restless and fevered, it moves through dust-choked memory and sacred violence. The gloomy musicality takes shape in churning minor-key riffs and tom-heavy percussion that thuds like distant artillery. Figures run across a barren landscape, wounded yet upright. The horizon splits open, light drained away, leaving isolation ringing through reverb and restraint.

Night Folds In leans into gothic unease. Identity loosens its grip as the living confront their own reflection. The gloomy musicality here is spectral and slow-burning: echo-laden guitars shimmer in cold arcs while the bass stalks beneath. Burial and doubling hover at the margins. The self recedes; what remains feels borrowed.

With The Waxing Moon, intimacy settles into still air. The gloomy musicality softens but does not brighten—clean guitar lines glisten under a patient drum pattern, as if suspended in silver light. Sensation fades into a dream. The track drifts without urgency, surrender arriving like a tide that never turns. Return Me sharpens the ache. A plea rises from emotional vacancy, framed by brittle guitar and a bassline that moves like a pulse under glass. The gloomy musicality underscores estrangement from one’s own flesh. Regret hangs thick; there is no refuge for restless bones.

On Crawl into the Flames, earth and fire converge. The gloomy musicality grows heavier: distorted chords grind forward while drums march with ritual insistence. Roots twist with veins; sorrow reshapes the body. Submission feels inevitable, transformation slow and absolute. Death Never expands the scope. The gloomy musicality here feels vast, almost liturgical, with sustained guitar tones and measured percussion echoing into open space. Love persists beyond the grave’s seal. Death stands patient and absolute; devotion presses onward into the void. Black Candle turns ritual inward. The gloomy musicality flickers in tight, circling riffs and a bassline that coils with intent. The act of lighting becomes reckoning. Ash and bone mark the aftermath; desire burns low and controlled.

Closing with I’ll Still Remember, the album exhales. The gloomy musicality remains steadfast: measured drums, restrained guitar, a voice worn but steady. Memory becomes a sanctuary. Acceptance arrives without spectacle. What lingers is recollection held close, as the final notes recede into quiet dusk.

Listen to Drain The Light below and order the album here.

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The post “How These Hands Have Gathered Dust” — New Mexico’s Blood Relations Shares “Drain the Light” LP appeared first on Post-Punk.com.

Matteo Mancuso has released his new single “Solar Wind,” featuring Steve Vai. The track appears on Mancuso’s upcoming sophomore album Route 96, due April 24 via Music Theories Recordings. An official video for the song is available now.

“Solar Wind” opens the new album and pairs the young Sicilian guitarist with Vai, the multi-Grammy Award-winning instrumentalist widely regarded as one of the most influential players of the past five decades. Vai has previously praised Mancuso as one of the most exciting emerging guitar talents, making the collaboration a notable moment for both artists.

Mancuso said of the track, “Solar Wind is a really special song to me. I believe Steve brought a whole new dimension to the music. I was listening to a lot of his solo records like Passion And Warfare while composing this music. He sent back his parts in just a couple of weeks and what he played was spectacular. It’s not shreddy, I wanted something melodic rather than over the top, but still very Vai-like.”

The new album’s title references both Mancuso’s birth year and the 96kHz audio sample rate Vai recommended he use during recording. “Solar Wind” follows the previously released single “Isla Feliz,” which features Gypsy jazz guitarist Antoine Boyer.

Mancuso first gained international attention in 2023 with his debut album The Journey. His technical ability and compositional approach drew praise from guitarists including Tosin Abasi, Al Di Meola, Dweezil Zappa and Vai. The release led to international touring and sold-out shows across Europe and the United States.

According to Mancuso, Route 96 reflects a more confident and streamlined creative process compared to his debut. While The Journey was largely arranged in rehearsal, the new album was more deliberately composed and orchestrated. Mancuso is joined on the record by Riccardo Oliva on bass and Gianluca Pellerito on drums. The album was recorded at Fico D’India Studios in Casteldaccia, Italy and produced by Mancuso alongside his father, Vincenzo Mancuso.

Tour Dates

2/26 – Lansing, MI – Grewal Hall at 224
2/27 – Chicago, IL – Vic Theatre
4/09 – Catania, Italy – Zo Centro
4/12 – Palermo, Italy – Teatro Politeama
4/13 – Rende (CS), Italy – Auditorium Unical
4/14 – Bari, Italy – Teatro Forma
4/15 – Grassina, Italy – Viper Club
4/16 – Torino, Italy – Hiroshima Mon Amour
4/17 – Milan, Italy – Alcatraz
4/19 – Padova, Italy – Hall
4/20 – Bologna, Italy – Locomotiv Club
4/21 – Rome, Italy – Auditorium Parco della Musica
4/23 – Berlin, Germany – Lido
4/24 – Hamburg, Germany – Fabrik
4/25 – Frankfurt, Germany – Zoom Frankfurt
4/28 – Munich, Germany – Ampere
4/30 – Amsterdam, Netherlands – Paradiso
5/01 – Nijmegen, Netherlands – Doornroosje
5/03 – Esch-sur-Alzette, Luxembourg – Rockhal
5/05 – Paris, France – Alhambra
5/06 – Barcelona, Spain – Sala Apolo
5/07 – Madrid, Spain – Sala Villanos
5/09 – Stockholm, Sweden – Debaser Hornstulls Strand
5/10 – Göteborg, Sweden – Pustervik
5/11 – Helsingør, Denmark – The Culture Yard
5/13 – Glasgow, UK – Oran Mor
5/14 – London, UK – Islington Assembly Hall
5/16 – Athens, Greece – Gagarin 205
7/16 – Pori, Finland – Kirjurinluoto
8/17 – New York, NY – Full Moon Resort

Route 96 will be available April 24 through Music Theories Recordings.

The post Matteo Mancuso and Steve Vai unite on new single appeared first on Blues Rock Review.

Brisbane’s long running, uncompromising metal-punk juggernaut Dreamkillers have just released their new album, Proiphys Cunninghamii. which features no less than 8 songs including the recently released, Shirley, a tribute to the Skyhooks legend. They are also giving their fans plenty of bonus material on the Physical version, Proiphys Cunninghamii Deluxe EP which has an extra […]

The Sheepdogs recorded Keep Out of the Storm live off the floor in Toronto, cycled through guest drummers, and brought in Ricky Paquette for his first full-length with the band. You can hear all of that in the first thirty seconds.

Nobody But You opens with jangling chords and a vocal that leans in close. Ewan Currie doesn’t overthink it. “Every time I see your face, I get a smile that I can’t erase.” Stubbornly plainspoken. Then the guitars start talking to each other, one burning clean, the other sliding in with grit. Paquette wastes no time staking ground. The chorus lifts without straining. Warm, familiar, still sharp around the edges.

The title track tightens the screws. Keep Out of the Storm moves with purpose, drums pushing from underneath while the guitars stack into something bigger and brighter. The “storm” never gets defined, which helps. It feels lived in, not conceptual. “I got to find another home,” Currie sings, and the line hangs there, less triumphant than necessary. Survival, not victory. The arrangement nods to Petty’s steady drive and the clipped punch of new wave keyboards, but it never tips into imitation. Worth noting: the chorus uses two drummers to beef things up. You feel it before you clock it.

I Do swings the mood. Glam sparkle in the chords, a chorus built for shouting back at the stage. “I love you more than Axis: Bold as Love.” That line could collapse under its own ambition. It doesn’t. The band sells it with straight faces and thick harmonies, melody out front and riffs right behind it.

Midway through, the record loosens its collar. Playing All Night Long eases the tempo and stretches its legs. Clavinet flickers in the corner, bass walking with a little extra swagger. The song shifts feel entirely partway through, sliding from road-worn groove into something closer to “Up on Cripple Creek,” and it’s one of the album’s best moments. Paquette’s guitar solo doesn’t hurt either. Take A Look At Me Riding drifts into hazier territory, somewhere between Sly Stone and Little Feat, horns colouring the edges while the groove sinks lower and slower. It ends before it fully blooms, and that’s a pattern worth noting. These songs rarely overstay. Sometimes you wish they would.

All I Wanna Do brings the sun back out. Southern-leaning riffs, organ tucked underneath, a chorus built for beer cups in the air. It’s easy to imagine this one bouncing off the walls at MTELUS on March 19. The Sheepdogs have always understood the communal side of this music, and they don’t pretend it’s solitary art.

Bad For Your Health is all chug and fuzz. The riff digs in and refuses to budge. Lyrically it’s a catalogue of modern vices, phones, screens, the slow rot of how we consume everything, delivered with the sleazy swagger of T. Rex and Thin Lizzy. The band leans into the groove instead of polishing it. With different drummers stepping in after Sam Corbett’s departure, the shifts add a flicker of unpredictability across the record.

Breezy lives up to its name without floating away. Tight guitar lines, layered vocals, rhythm section crisp and controlled. Everything stays exactly where it’s supposed to. The Owl slows everything down and looks inward. You can hear the nod to Fleetwood Mac’s Albatross in the harmonised guitar bends and a bit of Pink Floyd’s Breathe in the pedal steel and atmosphere.

Shamus Currie’s instrumental The Yellow Line steps out with brass and a funk undercurrent. It’s part Allman Brothers, part David Axelrod, cinematic and a little restless, like a late-night highway drive with no particular destination. Trombone cuts through the mix, playful and precise. A nice palate cleanser before the closer.

Out All Night kicks the door back open. Anthemic, driving, guitars grinding forward. The chorus lands hard, cymbals crashing, voices rising together. Then the band pulls the plug sooner than expected, resisting the extended coda the song seems to invite. Restraint can be a virtue. Here it feels like a tease.

Across eleven tracks, the record moves quickly. No epics, no indulgent detours. That brevity keeps the energy high, even if a few songs hint at longer roads not taken. Currie reportedly wanted to sing less and lean harder into riffs. He’s done both. The vocals are still the emotional centre, soulful and steady, but the guitars dominate the conversation.

Two decades in, the Sheepdogs are still doing what they do. Twin leads, analog keys, harmonies that feel like they were built in a basement rehearsal space and never abandoned. Keep Out of the Storm trims the fat and sharpens the attack. Whether you call it retro or just stubbornly committed, the result is the same: five players in a room, amps turned up, and a record that sounds like nobody needed convincing.

Keep Out of the Storm will be released on February 27, 2026 via Right On Records.

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The post Album Review: The Sheepdogs – Keep Out of the Storm appeared first on Montreal Rocks.

Eric Angelo Bessel makes music like a man hunched over a workbench at 3 a.m., soldering starlight into old machinery. Double Helix, the new track from his upcoming 7” EP Mirror at Night B-Sides, hums low and patient, then slowly unfurls soft coils of tone looping back on themselves, rising in quiet spirals. It’s ambient, but not wallpaper…it breathes. It hovers. It circles the drain of memory and peers in the void.

Sonic layers stack up in gauzy tiers, chords held long enough to bend the clock. You can practically see the tape reels turning, even if the whole thing’s living inside a laptop. The track twirls and repeats, gentle but insistent, like DNA threading itself in slow motion. Artificial clouds part. Water glows with a strange interior light. You start thinking about your own cells, the little cosmic librarians filing away heartbreak and grocery lists with equal seriousness.

Bessel says, “Double Helix feels excavated from time itself – ancient and futuristic at once, drifting through memory like a half-remembered dream.” It’s a pretty clean description of the sensation: something unearthed, brushed off, set spinning again. There’s a whiff of Delia Derbyshire’s laboratory mischief and Daphne Oram’s tape-spliced wizardry in the architecture, and yes, the patient hush of Brian Eno hovers nearby, but Bessel is building a room and letting the air thicken inside it.

Listen below:

As a companion piece to 2025’s Mirror at Night, these instrumentals feel like secret corridors branching off the main hall. The track sits outside the usual grid. No chorus to chase, no beat to bully you forward. Just accumulation. Tone upon tone, like sediment settling at the bottom of a glass.

Maybe that comes from his eye as much as his ear. Bessel studied photography at Syracuse University and later at the School of Visual Arts, and you can hear the framing instinct. He knows where to place the horizon line. He understands exposure: how much light to let in, how much to withhold. His earlier books and exhibitions were about catching atmosphere before it slipped away. Double Helix does the same thing in sound: pins a fleeting feeling to the wall and lets it glow.

Listen to Double Helix below and order the single here. The Mirror at Night B-Sides EP comes out on Friday, March 27, 2026 via Lore City Music.

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The post Eric Angelo Bessel Excavates a Half-Remembered Dream With “Double Helix” appeared first on Post-Punk.com.

Swarming with sonic haymakers, looming melodies, sharp narratives and astonishing dexterity, today Melbourne’s The Gloom In The Corner ascend into a brand new era with the release of their hotly-anticipated new studio album Royal Discordance, out now via SharpTone Records. A record that could readily soundtrack an Anime epic, a Netflix smash series, or a […]

There’s a moment, right before a remix takes flight, when you can feel the air shift. The lights dim a notch. The floor tightens. Someone, somewhere, leans closer to the speakers. On Traitrs’ reimagining of Toronto post-punk duo Modele’s You Are My Sin, originally on Pleasures Of The Holy, that shift happens almost immediately. A low throb rolls in, patient, predatory, and suddenly the chapel of the original becomes a midnight club with stained-glass windows rattling in the bass.

Traitrs always understand atmosphere the way some bands understand hooks. They don’t rush the ritual; the beat lands with intent: steady, stalking, edged in ice. Synth lines stretch longer here, darker in hue, turning the song’s devotional ache into something more dangerous. Where Modele’s version glowed with ceremony, Traitrs lace it with a more restrained tension. The space between notes feels charged, like a held breath shared by a roomful of strangers.

You Are My Sin is about the collision of faith and flesh; pleasure braided with guilt, desire dressed in incense. In this remix, that collision feels physical. The drums hit harder, the low end digs deeper, and the chorus rises like a confession whispered into a mic at 2 a.m. Huggett’s vocal floats above the mix with a new urgency, less sermon and more surrender. Each line lands like a vow made under red lights.

There’s something cinematic in the way Traitrs rebuild the track. They let it simmer, then slowly widen the frame. The bass swells, the synths gleam, sharp as chrome in a dark room. The sacred and the profane spin together under a mirror ball that feels just slightly cracked. Traitrs never overcrowd the arrangement. They carve space with care, letting the tension coil and release in measured waves. The altar has been carried onto the dancefloor, and the incense has mixed with dry ice. Somewhere between the kick drum and the last echo of that chorus, devotion becomes motion. You step back into the night air changed, pulse steady, the echo of that beat still ticking under your ribs.

Listen to You Are My Sin (Traitrs Remix) below and order the single here.

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The post Toronto Post-Punk Duo Modele Share Traitrs Remix of “You Are My Sin” appeared first on Post-Punk.com.