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Swedish progressive metal outfit Binary Creed has recently put out a brand new single titled “The Madness From Within”. Check it out.
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The Press Release: The mystery wearer of the super stylish new Red & Blue Venom suit was revealed this past April in Web of Venom #1 to be none other … Continue reading Marvel Announces “The Amazing Venom” Limited Series for September →

Now their new collaborative track has been premiered, Olivia Rodrigo and Robert Smith have been speaking about what it has been like collaborating with each other in various forms over the last year.

Whilst speaking to Popcast, Olivia explained how it felt to have Robert perform with her during her headline set at Glastonbury Festival.

“I obviously wrote to him a bunch before Glastonbury. I was so shocked that he said yes. He’s everything to me, and I was just so nervous, even to ask, but I was so delighted when he said that he wanted to. That night at Glastonbury was like the best night of my life. It was so special. There was just something in the air.”

She then goes into how the pair then got working on more music together, which then materialised into him putting his mark on her new track ‘what’s wrong with me’.

“After that we hung out a bit after, and I was in London a lot, and he was like, “Well, we should, we should hang out in the studio, like, come and let’s, let’s hang, and he’s nocturnal, also, which is amazing. He’s only awake when it’s dark out.

“I brought him this song, and he’s just incredible. I think when he sent us back the like his vocals in the chorus, like the first time the chorus came in, I was like, ‘Oh my god’. Just the way that it elevates that song and the way that it blends together almost brought me to tears. I thought it was so beautiful, and hearing him sing something that I had written was just so wild”

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The pair gave the song its debut at Primavera Sound over the weekend, where The Cure were scheduled to headline and Olivia popped up for a surprise set.

A soft and tear-stained synth-laden ballad, one that allows the heartwrenching words that accompany it to take the forefront. Stories of not being able to get out of bed but unable to eat or sleep but being told by others that there’s nothing actually wrong, it’s a raw and very real look at what it means to have the weight of the world on your shoulders.

Following the performance, Robert spoke to BBC Radio 6Music, where he described his admiration for Olivia as an artist.

“She’s so good, I mean, she is genuinely fantastic as a songwriter and as a singer, as a performer, and the band, everything about it. I genuinely love what she does. I am slightly in awe of how easy she finds it all. It’s not really comparable to how I do things. [At] 23 you’ve got a lot more energy than someone of my age, but it just comes across as very effortless. Very natural. And I’m not really a natural performer. When I write songs, I’m writing for a very specific reason. I agonize, to be honest, a lot of the time in later life, and she’s just banging it out and saying, “What do you think of this? That’s great.”

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The song is set to appear on Olivia’s new album ‘you seem pretty sad for a girl so in love’, which will be released this Friday (June 12).

The post Robert Smith On Olivia Rodrigo: “I Am Slightly In Awe Of How Easy She Finds It All” appeared first on Rock Sound.

Sometimes you just need a little pick-me-up from the stresses of daily life from someone who gets it. That’s what the new Sleeping With Sirens album is; a friend when you’re in need of a helping hand. The arc that they’ve followed over the last two records is completed with ‘An End In Itself’ and while the twelve songs are imbued with the same energy that catapulted them into the mainstream a decade and a half ago, it’s more than that; ’An End In Itself’ is rooted in solidarity and understanding of the struggles of the everyday and contains the power to inspire you to push on through. 

“Don’t give up, don’t let it bury you,” implores Kellin Quinn as the gritty title track opens the album, twisting from empty chords into screaming, flammable choruses ripe with optimism amid the chaos. The cry for comfort extends into ‘Forever/Always’, a surprisingly tender track from Sirens but one which  beams with a love for the human connection. If anything, that’s what ‘An End In Itself’ is all about: the joy of finding solidarity in the people around you. ‘God In My Head’ feels like a rush of realisation that you can always rely on yourself, albeit with atmospheric layered drop-downs to add a touch of spookiness, and ‘Need You Here’ feels destined to become a metalled’s wedding song this summer with its gorgeous blend of solos and romantic chemistry. However, it’s ‘Left On Repeat’ which brings the most vulnerable moment on the album, one that reaches out to us and invites us to share the connection which Sleeping With Sirens celebrate.

There’s been a magnetic shift in Sleeping With Sirens’ sound since 2022’s ‘Complete Collapse’; the heaviness on tracks like ‘Paralyzed’ feels so much more dense than we remember, and the pop opening to ‘House of Matches’ feels like something that could be from a chart-topping crooner. The moments where the band manage to compress those two sides into one, such as the atmospheric singalong future classic ‘Waiting For You’, are the points where ‘An End In Itself’ truly shines.

‘PTSD’, probably the heaviest track we’re dealing with, is gorgeously venting, but immediately followed with the moody, slow crashing of ‘Looking Back At Me’. Both sides that we experience are brilliant, of course, but both offer different paths to the future for Sleeping With Sirens. Is this a clue that we’re sliding towards an emotional pop sound, or that they’ll throw all caution to the wind and pack their next record with deep and intensive chug? At this point, all speculation is irrelevant as we’re barely letting ‘An End In Itself’ sink in, but with the sound we love splitting into intriguing shards, anything could be possible. 

‘An End In Itself’ represents that rare beast of a record that will delight the fanbase and pull in new fans thanks to the universal comfort that slamming it out with a bunch of strangers can bring. There’s enough heaviness lurking in there to keep us satisfied, but the lightness makes it accessible for the newcomers. It might just be the album that propels them even further into the stratosphere, or it might be a crossroads to a new era now their three-album saga has reached its conclusion. We’re left with more questions, but we have to trust the process. After all, if Sleeping With Sirens keep making albums of this quality, the answers will reveal themselves in no time.

KATE ALLVEY

Posted on June 9th 2026, 12:00p.m.

King Crimson will release a newly mixed version of 1971’s Islands on CD and Blu-ray and on vinyl in September

The one where the deer terrorises a troop of Boy Scouts

Everett Watson is an independent rock artist, songwriter, and guitarist known for crafting powerful, guitar‑driven music with thoughtful, emotionally resonant lyrics. Blending classic and modern rock influences, he creates songs built on memorable hooks, dynamic arrangements, and honest storytelling.

As a fully independent musician, Watson writes, performs, records, and produces all his work, giving him complete creative control. His music explores personal struggles, relationships, social issues, and the shifting realities of modern life, always with a focus on authenticity and strong musicianship.

Thanks to its venomous lyrics and hard, screeching riff, the 2005 single became a Platinum-selling breakthrough moment

With just eight weeks to go until heavy metal fans descend upon Catton Park, the organisers of Bloodstock Open Air 2026 have unleashed a massive wave of festival updates. The announcement covers everything from the first batch of regional band winners and crucial lineup alterations to on-site charity events and expanded sustainable travel initiatives for … Continue reading Bloodstock 2026 reveals first Metal 2 The Masses winners, lineup changes, and site updates