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Their new album “Hun” will be released next week.

The post The HU Premiere “Echoes Of My Father” Music Video appeared first on Theprp.com.

The final advance single from their sophomore album “Peace When I’m Dead”.

The post Ocean Sleeper’s “My Forever Drug” Music Video Has Debuted appeared first on Theprp.com.

It might sound stupid to call a guitar solo iconic – but how else could one describe the series of acoustic vignettes on “Make Me Smile (Come Up And See Me)” by COCKNEY REBEL, one of many classics by quite … Continue reading →

The post Jim Cregan Goes Acoustic On His New Ensemble’s Album appeared first on DMME.net.

Just ahead of their fall tour with Die Spitz.

The post Faetooth Announce Three Fall Headlining Shows appeared first on Theprp.com.

Former Customer frontwoman Mallory Hawk’s debut solo album Chinook is named after the military helicopters that dotted the skies around her childhood hometown. That town factors directly into “Four O’Clocks,” the pensive and pretty new single she released today. Let Hawk explain:

The post Mallory Hawk – “Four O’Clocks” appeared first on Stereogum.

Part of an upcoming EP of the same name.

The post Scene Queen Welcome Left To Suffer’s Taylor Barber On New Track “Metalicious” appeared first on Theprp.com.

Taylor Swift’s catalog has grown from youthful country storytelling into one of the most expansive bodies of work in modern popular music. This A-to-Z guide gathers her songs, collaborations, soundtrack appearances, re-recordings, and album tracks while tracing a career defined by reinvention, lyrical detail, and an extraordinary connection with listeners. It is rare for an artist to redefine an entire generation of music, but Taylor Swift has done exactly that with a career built on storytelling, reinvention, and an unmatched connection with her audience. Born in Reading, Pennsylvania, and raised in Wyomissing, Swift’s journey from a small-town dreamer to a

The post Complete List Of Taylor Swift Songs From A to Z appeared first on ClassicRockHistory.com.

Analog Dance’s new single, Fall Apart, begins with the sense that some private mechanism has been set in motion behind a locked door. The London darkwave project favors surfaces that feel cold to the touch: synth lines drawn tight, percussion with the clipped authority of machinery, and a vocal presence that seems to hover a few inches outside the body. Yet the song’s force comes from instability. Every measured gesture carries the possibility of collapse.

Fall Apart is the first glimpse of Mind The Fall, Analog Dance’s second album, due July 22 through Poland’s Bat-Cave Productions. The record follows 2024’s Stranger Minds and was written far from London, in a wooden cabin in Argentina, where isolation became less a romantic idea than a practical condition. Distance can clarify an artist’s instincts, though it can also expose their habits. Here, the separation appears to have sharpened Analog Dance’s interest in pressure, repetition, and the peculiar intimacy of dread. The cabin, in this account, becomes a useful frame: plain timber, foreign air, and enough silence to hear anxiety organizing itself into a precise, repeatable musical pattern.

The arrangement proceeds with severe elegance. A rigid beat establishes the room, then the synthesizers begin narrowing it. Their lines are clean and bright, but the emotional temperature keeps dropping as the song advances. Beneath that composure sits a rhythm that seems perpetually close to buckling, lending each passage the uneasy suspense of a floorboard bending under weight. The tension is physical, almost architectural, and the release never arrives in a simple rush. Instead, the track keeps redistributing its unease, moving it from bass to voice, from percussion to the empty space between phrases.

That restraint places Analog Dance with a sound that sits near Cold Cave, Lebanon Hanover, and Depeche Mode, though Fall Apart carries a more secluded character. The music remains direct enough to inhabit a club, but its central drama is inward and private. It suggests the odd clarity that can accompany emotional ruin: the mind cataloguing details while the larger structure gives way.

There is also a dry intelligence in the title. Fall Apart may describe a catastrophe, a command, or a promise. Analog Dance leaves all three possibilities active, allowing the phrase to gather meaning through repetition. The result is an austere, finely controlled single whose menace comes from patience.

Fall Apart offers an assured entrance into Mind The Fall. It presents isolation as an instrument of focus, translating a cabin’s quiet into tense, disciplined movement. By the end, collapse feels less like an ending than a form of knowledge.

Listen to Fall Apart below and pre-order Mind The Fall here.

Follow Analog Dance:

• Instagram
• Bandcamp
• Spotify
• LinkTree

The post London’s Analog Dance Returns With Sensual Darkwave Single “Fall Apart” appeared first on Post-Punk.com.

System Of A Down have added another chapter to their long-running beef with Oasis.

At the first of their two headline shows at London’s Tottenham Hotspur Stadium, guitarist Daron Malakian led the crowd in a scatologically inspired Oasis chant, comparing the Mancunians to a tapeworm requiring urgent removal.

“London, do you have an ass?” asks Malakian. “Everybody say ass!”

“We have a little song about a tapeworm,” he continues. “Just for fun, today I’m going to name the tapeworm. Today, I’m gonna name the tapeworm Oasis. Pull Oasis out of your ass, Hey!”

The 50,000-strong crowd responds in kind, happily bellowing the refrain “Pull Oasis out of your ass!” before being led through further iterations of the chant.

The bad blood between Oasis and System Of A Down goes back to an interview Oasis guitarist Noel Gallagher gave to US radio station KROQ in 2001.

“Do you ever look at the sky and think, I’m glad I’m alive?” asked Gallagher. “After I heard System of a Down, I thought, I’m actually alive to hear the shittiest band of all time, which is quite something when you think about it.

“Of all the bands that have gone before and all the bands that’ll be in the future, I was around when the worst was around.”

In the years since, SOAD frontman Serj Tankian has generally taken the high ground in interviews, focusing on political activism, while Malakian has kept the beef simmering.

Last year, as both bands toured the US, Malakian posted an Instagram photo of himself at Chicago’s Wrigley Field, with the stadium sign behind him altered to read “Fuck Oasis”.

We look forward to the next instalment of the to-and-fro, wherever it may occur.

A post shared by Daron Malakian (@daronmalakian)

A photo posted by on

A post shared by Daron Malakian (@daronmalakian)

A photo posted by on

On a beautiful 80-degree day in the Willamette Valley of northwest Oregon, the city of Albany hosted the first of its 2026 free summer concert series. The River Rhythms summer concerts in Monteith Park first began in 1984 on the banks at the confluence of the Calapooia and Willamette rivers. On Thursday, July 9, 2026, Kim Wilson and the Fabulous Thunderbirds headlined, taking the stage shortly after 7:00 p.m.

The Fabulous Thunderbirds first formed in 1974 in Austin, Texas, with Kim Wilson on vocals and harmonica and Jimmie Vaughan on lead guitar. Over the past five decades, band members have come and gone, with Wilson remaining the constant as the band’s frontman and the glue that holds everything together. The current lineup consists of Kim Wilson on lead vocals and harmonica, Johnny Moeller on lead guitar, Bob Welch on keyboards and guitar, Rudy Albin on drums, and Steve Kirsty on bass.

After being introduced, the band took the stage and dove into “Rush Hour Blues” without Kim Wilson, who joined them about a minute later. Johnny Moeller wailed on his axe while Bob Welch added keyboard runs over the driving beat provided by Albin’s drums and Kirsty’s bass. Barrett Strong’s “Money” followed and was reminiscent of the Beatles’ version, but it wasn’t until the band launched into “My Babe” that Wilson picked up the harmonica. By this point, Welch had stepped out from behind the keyboards, strapped on a guitar, and began trading licks with Moeller as his playing transitioned from a chicken-scratch sound to stratospheric peals.

Their set comprised 14 songs, including a drum-driven, dueling-guitar version of Sam & Dave’s “Wrap It Up,” which became a hit single for the Fabulous Thunderbirds in 1986. “Low Down Woman,” from the band’s second studio album, released in 1980, had Wilson spitting out the lyrics:

“Well, sometimes I wonder
Why do I keep that low-down girl of mine”

Bob Welch took the lead, alternating with Wilson’s wailing mouth harp. By the time the band was cooking in overdrive, they broke into Herbie Hancock’s 1962 composition “Watermelon Man,” with Wilson leading the charge on harmonica and Moeller stepping out with stratospheric peals. “Don’t Bite the Hand That Feeds You” came from Wilson’s 1994 solo release That’s Life, with Welch back on the keys, interplaying with Moeller’s guitar while Wilson straddled them with his harp.

The final song of the more than 90-minute set was the Fabulous Thunderbirds’ biggest hit and signature song, “Tuff Enuff,” from their 1986 album Tuff Enuff. After Wilson introduced the band members, they launched into the song with Moeller’s and Welch’s fingers flying across their fretboards as they traded dueling guitar lines, both individually and in tandem. Albin’s drums and Kirsty’s bass drove the beat with an explosive rhythm, sandwiching Wilson’s vocals as he sang:

“I’d climb the Empire State, fight for Muhammad Ali
Just to have you, baby, close to me”

The band returned for an encore with “The Crawl” from their second studio album, What’s the Word, released in 1980. The song was originally written by Eddie Shuler and Raymond Victorian and first recorded by Guitar Junior in 1958. Wilson encouraged the crowd to do the Crawl while the band rocked out with more stratospheric guitar runs dancing over the infectious beat. Wilson thanked the crowd as the band made its final exit, and the audience responded with enthusiastic appreciation.

The post Fabulous Thunderbirds: Monteith Park Gig Review appeared first on Blues Rock Review.