Liverpool’s club circuit in the early 1960s gave The Swinging Blue Jeans their runway, and the group’s sound and look quickly aligned with what became known as Merseybeat. They are identified as a four piece 1960s British Merseybeat band, and they became best known for hit singles released on the His Master’s Voice label, including “Hippy Hippy Shake,” “Good Golly Miss Molly,” and “You’re No Good,” all issued in 1964. The band’s later single activity did not match that early impact, although their 1966 recording of “Don’t Make Me Over” did reach the UK Singles Chart at number thirty one.
Winter (at least after Christmas,) is a bloody horrible time to live in Britain. I mean, it's not the happiest place on Earth generally but the weather's at its worst, everyone's extra miserable and half the football matches get cancelled every week. There is one thing over the last few years that has made it worth getting through to the end of Win… Read More/Discuss on Metal Underground.com
There is a moment, just before dusk, when the air shifts and everything feels fractionally charged, as though the day has exhaled and something older is preparing to speak. REBEL MUSE, the new album from Los Angeles artist MISS TREZZ, inhabits that charged threshold. And her latest single, Fade Into The Black, moves with ritual intent, drawing from industrial pop’s iron spine and dark electronic music’s nocturnal pulse, yet aiming squarely at something more elemental: self-possession wrestled from the wreckage.
Built on a bed of low-slung synths and deliberate percussion, the track unfolds with patient control. Producer Travis Bacon keeps the arrangement taut and spacious, allowing each element to breathe. The electronics hum and the rhythm stalks as her vocal steadies itself – cool at first, then gradually edged with steel. You can hear the recalibration happening in real time; a consciousness shifting from containment to command.
The accompanying video, self-directed and shot by cinematographer Steven Anthony Roe, deepens that transformation. Set against open meadowland and elemental imagery, MISS TREZZ appears as a warrior queen in motion, symbolic of reclamation. What begins as a confrontation evolves into a ceremony. Nature becomes both witness and instrument of metamorphosis. The past is summoned, faced, and finally offered up, lending the song a sense of composure that suggests hard-won authority.
Across REBEL MUSE, MISS TREZZ inhabits sovereignty without spectacle. The record stands, steady and deliberate, insisting that autonomy can be both tender and unyielding…and that power, once reclaimed, need not shout to be felt.
Watch Fade Into The Black below:
MISS TREZZ frames her latest LP in stark terms: “The Rebel Muse is the rebel who creates art through defiance and a refusal to conform, and the muse who inspires the transmutation of pain into power. Together, the Rebel Muse awakens the courage to create from your unapologetic, authentic self.” There’s a clarity to that statement that courses through the record. These songs feel lived-in rather than theorised, as though each line has been tested against experience before being set loose.
Her stated intent cuts cleanly through the production: “This album is about rebelling against anything that doesn’t resonate with authenticity,” she explains. “It’s about not apologizing for who you are, not conforming to the patriarchy, and not allowing the past to govern who you become.” In lesser hands, such rhetoric might curdle into a slogan, but here it feels embodied. The mantra “REBEL. REVOLT. RESIST.” functions less as branding and more as practice; a rhythm that underpins the album’s emotional architecture.
Listen to Fade Into The Black below and order REBEL MUSE, out now via Re:Mission Entertainment, here.
Professor Henry Higgins claimed “hurricanes hardly ever happened” in that corner of England, but clearly Hertfordshire didn’t get the memo. With their new single Come Home, Legends of the Seven Golden Vampires stir up a storm of passion strong enough to shake the consonants right out of Eliza Doolittle herself.
Comprising Ilse Van Der Linden on vocals, Nick Foster on guitar and bass, and Luke Barratt on keyboards and programming, Legends of the Seven Golden Vampires are three conspirators coaxing squalls from sequencers and six-strings, turning tidy diction into thunder.
Come Home, their new “cathedral pop” dispatch from the forthcoming The Pumphouse of Broken Dreams, rolls in on a rhythm that jitters with intent. Barratt’s synths spread in luminous sheets while Foster’s guitar slashes and spirals, pouring psychedelic colour across the track with the kind of unbridled charge that suggests Grace Slick, Stevie Nicks, and Jimi Hendrix crashed the same bill and decided rehearsal was optional. Beneath it all hum those unmistakable mid-’80s alternative contours: big-sky chords and romantic voltage, yet LOTSGV tweak and torque the formula, tightening bolts where others might simply bask in retro glow.
At the centre stands Van Der Linden, her voice carrying both yearning and knowing in equal measure. She stretches the chorus into something magnetic, issuing a decree and proclaiming what’s in store.
There’s history under the hood with this number. “The song is a recycled track from a previous project, which I believe never really lived up to its potential,” explains chief songwriter Nick Foster, “but now we’ve added the new vocal from Ilse (Van Der Linden), it’s really come to life and sounds how it was meant to all along.” You can hear that resurrection in the way the track strides forward, confident and newly charged.
Listen to Come Home below:
After a warmly received debut LP in 2024, Legends of the Seven Golden Vampires signal with Come Home that the next chapter aims higher and hits harder. So much for hurricanes hardly ever happening. In Hertfordshire, the forecast now calls for thunder.
Listen to Come Home below and order the single here. The Pumphouse of Broken Dreams comes out later this year via Prank Monkey Records.
