Long-awaited—and now finally available again: DORO & Universal release a reissue of DORO – LIVE New editions will be released on July 3 on CD, […]
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A music video for that collaboration has just dropped.
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Black Bananas are back. Led by Royal Trux and RTX’s Jennifer Herrema, the band last released a record in 2014 with their sophomore effort Electric Brick Wall on Drag City. Today, the trio is announcing their signing to Fire Records and a new album called Bad Bunch.
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For all the links tying them to KING CRIMSON – Trey Gunn and Pat Mastelotto having served in the band and Markus Reuter having been part of – the members of TU-NER were never eager to delve into that legacy … Continue reading
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At the end of this week Death Cab For Cutie will release I Built You A Tower. It’s their first album for new label home Anti, which means it’s their first album on an indie label since Transatlanticism in 2003. The group has dropped two promising singles so far, “Riptides” and “Punching The Flowers,” and…
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Their first new song in six years.
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Butcher Babies have released their powerful new single Blame it on the Wind, produced by Howard Benson. This marks the fourth release from their forthcoming album via Judge & Jury Records. The track serves as a key chapter in an album that functions as a deeply personal love letter to vocalist Heidi Shepherd’s past, reflecting […]Armored Saint today presents their video for “Every Man-Any Man.” The track comes off the band’s critically-lauded new full-length, Emotion Factory Reset, out now on Metal Blade Records.
“‘Any man has his price’ is a more familiar phrase and that’s the theme, but we didn’t want to call it that,” recalls vocalist John Bush on the track, “It was too obvious. We said, ‘How about we call the first part of the line ‘every man-any man’ and then stop there.’ The intro guitar part almost has this Andy Summers/Police vibe. Then [Joey Vera] goes into the cool bass groove. That’s vintage Joey; he’s such a grooving bass player, and it sounds super unique; you probably won’t hear a groove like that from too many metal bands.
“Combined with [drummer] Gonzo [Sandoval], sometimes the grooves that they combine on are essential to ARMORED SAINT’s sound and have been for years. When those two guys are locked in, it’s pretty awesome, because it’s like they could be playing in the Commodores. That’s the feeling that, I think, is the beauty of ARMORED SAINT; it takes it to another place that a lot of bands can’t go to in the metal world. That’s a perfect example of it.”
Adds Vera, “I liked the idea of having the verse, music, and chorus be the same music parts, but with different vocal parts. This idea was inspired by a song by the band The Police. I also wanted to add all the kitchen sink ingredients, so there are nods to Foo Fighters, Thin Lizzy, and it all ends with a crushing ARMORED SAINT riff.”
Emotion Factory Reset, ARMORED SAINT’s ninth studio album, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by bassist Joey Vera and mixed by Jay Ruston (Anthrax, Stone Sour), the record finds the quintet challenging themselves. Songs like “Close To The Bone,” “Hit A Moonshot,” and “Every Man-Any Man” have ARMORED SAINT honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present.
Emotion Factory Reset was recorded across several studios including 606 Studios, Secret Hand Studios, Skullseven Studios, Constantine Studios, and Bridge Recording, engineered by Oliver Roman, Bill Metoyer, Joey Vera, and Jason Constantine, and features cover art by DDKing.
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Post-metal visionaries The Ocean have announced their 12th studio album, Solaris, and shared its lead single, “Light Pollution.” A near-70-minute journey to the stars and back, Solaris is based on the late Soviet filmmaker Andrei Tarkovsky‘s masterpiece of the same name, and is described as the most ambitious album of the band’s 25-year career.
From 2022 to 2025, The Ocean lost two-thirds of its members — the lineup that had made fan-favorite albums Phanerozoic I (2018), Phanerozoic II (2020), and Holocene (2023) gradually disbanded, culminating in a victorious final bow at Hellfest last year. Only founding guitarist, songwriter and lyricist Robin Staps, longtime bassist Mattias Hägerstrand, and new drummer Jordi Farré (also of Crippled Black Phoenix) remained. Rather than call it quits, they rebuilt: Emmanuel Jessua (Hypno5e) and Marco Gennaro joined on guitar, while vocalists Enrico Tiberi and Lane Shi (Elizabeth Colour Wheel, Otay:Onii) stepped in to replace Loïc Rossetti.
New vocalist Enrico Tiberi sings at the beginning of the song. Orbital motion is not only the gravitationally curved trajectory of a celestial body; in another context — alluding to early scenes in the film Solaris — orbital motion in water refers to the circular or elliptical paths water particles follow as waves pass through, transferring energy without moving the water itself forward.
“Light Pollution” begins with synth textures that connect seamlessly to its predecessor, Holocene, before gradually picking up momentum and culminating in a towering, slow-burning finale of orchestral grandeur, suffocating heaviness, and subdued rhythmic complexity. The song explores the pitfalls of 21st-century technology and humanity’s growing obsession with simulated reality.
Pre-order the album here.
Staps commented: “We’ve witnessed several communication revolutions throughout the 20th and 21st centuries, but have we actually become any better at communicating? Has there really been forward movement, or has the motion been orbital — have we merely been treading water? Light pollution symbolizes the transparency of the postmodern age, permeating everything and everyone. Everything is constantly visible; we’ve lost the darkness to hide in, and with the relentless glare of communication, we’ve also lost our privacy.”
The music video for “Light Pollution” was directed by filmmaker Craig Murray (Mogwai, Converge) and combines the arrival of new vocalists Lane Shi and Enrico Tiberi with the song’s lyrical themes. Staps described Murray as “a one-man army — every detail of the film exists in his head before he starts to shoot, he’s got hand-drawn sketches of every single scene. He gets up at 6:30 to make molds, shoot and direct, and he’s still up at 2 a.m., gluing tentacles or smearing slime and sand over faces.”
For the recording of Solaris, the band expanded its creative circle with contributions from Thorsten Quaeschning of Tangerine Dream on modular synthesizers. Jens Bogren, who previously mixed the band’s landmark albums Pelagial, Phanerozoic I, and Phanerozoic II, once again handled mixing and mastering. The full album lineup also includes Orestis Zafiriou (keys), Simen Eifring (trombone), and Jiawei Zhang (vibraphone).
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