Despite concerns their drummer wouldn’t find time to take part, fifth album has been compared to their 2016 virtuosic victory, and they’re planning to tour it with the complete studio line-up

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Cleveland death metal band Nunslaughter have announced their debut album for BLKIIBLK, titled Satanic Chaos Legions, scheduled for release on June 26th. The band has also revealed the title track from the upcoming album, alongside an official music video, available to watch below.
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UK atmospheric black metal outfit Winterfylleth have unveiled “Echoes In The After,” the second single from their upcoming ninth studio album, The Unyielding Season. The album is set for release on March 27th via Napalm Records and serves as a thematic successor to 2024’s The Imperious Horizon.
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A trio of shows will now be held at The Fillmore in Philadelphia, PA.

The post Circa Survive Announce Two More Reunion Shows After Immediately Selling Out The Initial Date appeared first on Theprp.com.

Members of Machine Head and Sanguisugabogg will also appear on Frozen Soul’s newly revealed album of the same name.

The post Hear My Chemical Romance’s Gerard Way Guest On Death Metal Band Frozen Soul’s “No Place Of Warmth” appeared first on Theprp.com.

In 2023, Mitski scored her first Billboard Hot 100 hit when My Love Mine All Mine took on a second life online and wouldn’t leave. Three years later, her answer to that kind of visibility is to retreat indoors.

Nothing’s About to Happen to Me was made with her touring band, much of it recorded at home with longtime producer Patrick Hyland, and you can feel the walls in the sound. The drums are close. The guitars arrive like someone stepping into a room you forgot you left unlocked. Even the horns, when they swell, seem to press against the ceiling rather than blow it off.

The album opens with In a Lake, drifting in on banjo, fiddle, and a double bass that moves like careful footsteps. She sings about small-town departures and memory as something you dodge rather than revisit. The arrangement blooms toward the end, full band, full light, then holds there just long enough to make you uneasy. She’s been writing for theatre, and that instinct is all over it. Every entrance is timed. Every blackout feels like a choice.

That theatrical streak runs through I’ll Change for You, which starts as a woozy barroom number, brushed drums and lounge chords, before turning brittle. She sings about changing herself for someone who doesn’t like her with a kind of tipsy dignity, playing it completely straight, no ironic distance, no wink. It’s a weird, uncomfortable song and it works.

Americana threads through much of the record. Moonshining blues on Charon’s Obol. Anglo-Celtic melody meeting Southern strings on In a Lake. Pedal steel weeping in the corner like it has nowhere else to be. On her last album, those pastoral textures felt expansive. Here they feel domesticated, arranged like furniture in a house that hasn’t been dusted in a while.

And it is a house. Lyrically, she rarely leaves it. Cats prowl the yard. Possums rattle around in the attic. Stray dogs, dead girls, crowds at the door. On That White Cat, she watches the neighbourhood cat claim her property with complete indifference. The band pushes harder here, a scrappy near-punk energy that recalls her mid-2010s fuzz, but the fit is uneasy. The song wants to strut and her voice stays inward, and you can feel the two things pulling against each other without ever quite resolving.

Where’s My Phone? barrels in on distorted guitar and a rhythm that swings just enough to throw you off. The solo at the end sounds like the signal is breaking up. She sings about waiting to be saved, then realising no one is coming, and keeps her voice almost bored the whole time, which is what makes it land.

Loneliness has always been her subject, but here it turns almost gleeful. On Instead of Here, she imagines disappearing somewhere unreachable. On Rules, she promises to get a new haircut, be somebody else. The band leans into 1970s soft-rock polish, thick orchestration that does most of the heavy lifting while the lyrics barely hold it together underneath.

Dead Women might be the album’s cruelest joke. She imagines her own afterlife, watching friends and former lovers rewrite her story into something heroic and inaccurate. It’s funny in a dry, side-eye way, and it’s also a pretty sharp observation about how quickly people start mythologising someone once they’re gone, and how much of that is really about the people doing the mythologising.

The album’s strangest trick is how controlled it feels while describing unravelling. Horn sections flare up in In a Lake like a vaudeville flourish. Bossa nova rhythms shimmer under a song about drunken self-abasement. Gothic melodrama and small domestic detail sit side by side. You picture a woman in a bowler hat under a spotlight, then the light snaps off and she’s alone in an unbrushed housecoat.

Not every experiment lands cleanly. A few of the more band-forward tracks strain against her natural economy, and you notice it. She’s at her most convincing when the door stays closed and the camera stays tight, when a single image carries the weight. A kid waiting for a ride. A cat on a front step. A bar where you can be with other people without having anyone at all.

She avoids the obvious narrative about fame, even as it hums in the background. The album never names the glare directly. Instead, it builds a set. A house at the end of a dirt track. Leaves piling up outside. Music drifting from room to room. If you want to read it as a response to sudden pop ubiquity, you can, but she’s not going to confirm it for you.

Nothing’s About to Happen to Me is out today via Dead Oceans.

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The post Album Review: Mitski – Nothing’s About to Happen to Me appeared first on Montreal Rocks.

Good Day Noir Family,
Patience Please return with Miles Away, an EP that shows a band fully aware of its strengths yet still eager to stretch its range.

Miles Away is Patience Please’s EP Out Now

This is not a one-note release. It moves between tension and release, grit and tenderness, with confidence.

The record opens with “Wasting Time,” a track that builds patiently and draws you in step by step. At first, the guitar riff moves carefully, almost restrained. Then the drums enter and begin to push the momentum forward. The low-toned vocal warms the atmosphere, adding weight without excess drama. As the arrangement thickens, the chorus bursts open with a hook that sticks instantly. It’s catchy, yes, but also intense, striking that rare balance between radio-ready and emotionally grounded.

Then comes the title track, “Miles Away.” This one shifts gears immediately. Instead of a slow burn, it drives hard from beginning to end. The energy never dips. A distinctive keyboard riff slices through the mix with a tone that feels slightly off-center in the best way, almost teasing your brain into paying closer attention. It’s a strong rock song, direct and charged, and it confirms that Patience Please can deliver impact without overcomplicating the formula.

The EP doesn’t rely solely on power. “Madelaine” reveals another side of the band. Having heard it before, I already knew its emotional pull, yet within the context of this EP, it gains new depth. It’s a beautiful ballad, tender but not fragile. The band proves they can shift their target smoothly, moving from driving rock to aching, slow-burning moments without losing identity. That versatility matters. It shows intention.

“I Want It I Got It” hits with force. Bass and drums lock into a groove that feels like a speeding train, tight and relentless. Then, during the chorus, the rhythm changes direction, almost surprising you. That dynamic shift highlights the band’s ability to play with harmony and structure while keeping the listener fully engaged.

Overall, Miles Away is a solid EP that blends melody, energy, and emotional range. Patience Please know how to craft a hook, but they also understand pacing and contrast. And because of that balance, this release feels complete rather than experimental. It’s a record I would recommend without hesitation.

Miles Away is Patience Please‘s EP Out Now!

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Electrifying!

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Patience Please are a West London three-piece delivering bold indie rock with crunching guitars, soaring vocals, and big, anthemic ambition. Fronted by Ollie Palmer alongside Arthur Marriott and Tommy Lane, the band built their name through high-energy London shows, including sell-outs at The Troubadour and Dingwalls 2.

With four singles out — including Wasting Time, Miracle, and Pretend — they’ve earned over 35,000 organic Spotify streams and support from BBC Introducing and Radio 2.

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Find Patience Please Here:

Spotify
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Discover New Bands Click Here

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The post Miles Away is Patience Please’s EP Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

The latest clip from their set at the Ystad Theater.

The post Imminence Release Their “Beyond The Pale” Live Performance With A String Quartet appeared first on Theprp.com.