Jack J Hutchinson has built a reputation as one of the UK’s most exciting blues-rock talents, blending powerful songwriting, soulful vocals, and electrifying guitar work into a sound that continues to win fans around the world.
In this interview, Jack joins The Rockpit to talk about his brand-new single “Soul Believer” and the forthcoming album of the same name, set for release in early 2027. We dive into the inspiration behind the new music, explore the songwriting process that shaped the record, and discuss the influences that continue to drive his creativity.
Along the way, we chat about life on the road, future touring plans, and finish things off with a fun look at who Jack would invite to his ultimate dinner party.
It’s an engaging conversation with one of British blues-rock’s most authentic voices, packed with insight, stories, and a glimpse into what’s shaping the next chapter of Jack J Hutchinson’s musical journey.
With thanks to Claire at Central Press PR and to Jack for his time.
Today, HM is proud to premiere an early listen of the seismic new single from metalcore breakouts What Lies Below, “Monolith,” as the band makes the final stop on the way towards their upcoming full-length, I Let it Consume Me. The new track offers resonating riffs and a potent vocal, as the East Coast heavy […]
Australian death-doom collective REEKMIND is set to release its new EP Glints From The Crematorium on CD and 12” vinyl format on July 24th, 2026 through Night Terrors Records, further expanding the band’s bleak and emotionally devastating sonic universe.
Building upon the foundations established with their debut full-length, the group now pushes its sound into more exploratory territory, embracing new twists, dynamic shifts and experimental textures without sacrificing any of its crushing heaviness.
Rooted in massive riffs, oppressive atmospheres and an overwhelming sense of emotional collapse, REEKMIND continues to channel a form of catharsis where despair and weight coexist in perfect balance. The new material preserves the raw and organic intensity that defined the band’s earlier work, while broadening its expressive scope through more fluid structures and a deeper focus on tension, contrast and immersive pacing.
The EP also features guest vocals by Daniel Butler (Vastum, Decrepisy, Acephalix) on “Flesh Draped on a Pitiful Frame”, adding an additional layer of hostility and anguish to the release. Furthermore, the track “Rehearsal in a Body of Death” will appear exclusively as a bonus track on the physical edition and will not be made available digitally.
“‘Cyst Megalith’ is our first proper foray into a faster tempo of muck and aural detritus. It results in our shortest non-instrumental song to date, a stark contrast when paired with the longest and darkest song thus far on this EP. ‘Cyst’ expresses the growing mound of mental trauma that manifests into a growth encompassing a being past the point of recognition. A bridge from ‘Mired In The Reek Of Grief’ to our next LP, this single showcases a forthcoming darker, more unforgiving sound that continues to manifest onwards”.
Track-list:
Flesh Draped on a Pitiful Frame
Cyst Megalith
Rehearsal in a Body of Death (Bonus Track)
Line-up:
Dane – Vocals & Lyrics Nicholas – Guitars Lem – Bass Ned – Drums
Recorded and mixed by Lewis Noke Edwards at Black Lodge Studios in August & October 2025 Mastered by Dan Lowndes at Resonance Sound Studios Rehearsal In a Body of Death performed live at Black Lodge Studios Additional vocals on Flesh Draped on a Pitiful Frame by Daniel Butler Artwork by Lord_Serus Photography by Keegan Thomas
September 11, 2026 will see the release of the Archgoat‘s newly announced studio album dubbed Nightbringer, Lightbringer. Alongside disclosed details, you can also give a spin to the first single-title track. Read more…
To choose one’s fate is not a grand gesture, but a small rebellion repeated daily. Most lives are narrowed by habit, by fear, by the clock, by the soft tyranny of what is expected. There remains in every person, however, a private country that no official map can name. Love, at its bravest, is a form of escape from the prison one has helped build. Against routine, doubt, and misfortune, the dreamer insists on movement, and movement is the first proof of freedom.
In We Could Be Fugitives, The Mystic Underground treats this escape as both a romance and a method. The song, the third single from the NYC alternative electronic pop band’s acclaimed album, has a sharper tempo and a more urgent sense of momentum, suited to the dance floor without surrendering its private drama. Its machinery moves cleanly, with drums and synths locked into a disciplined charge, while the vocal carries the anxious glamour of two people trying to outrun the life that has been assigned to them. The track channels the sound of Erasure, Human League, and Pet Shop Boys, with the political bend of Killing Joke and Chameleons.
The premise is simple enough to feel archetypal: lovers under watch, time running out, the city offering one more invitation before threat becomes fact. Yet the track is strongest when it keeps that romance close to panic. The lights are alluring because they may be the last ones seen freely. The fantasy of flight becomes a practical matter, a way of protecting tenderness from the dull bureaucracy of fear. The chorus gives the title its force, turning criminality into metaphor, as though passion itself has been made suspect by a world too rigid to accommodate it.
‘Fugitives is a sort of clarion call,” says Valette. “Taking ownership of one’s destiny and avoiding monotony and rigidity of daily life. It speaks to the dreamer in all of us, to take your lover by the hand and run away from your inhibitions, insecurities and whatever life throws at you.”
That sentiment might have gone soft in lesser hands, but Vladimir Valette and Benedetto Socci keep the song brisk, bright-edged, and slightly dangerous. The production and mix, handled by The Mystic Underground, favour clarity over excess: every element seems placed for forward motion, from the clean synth lines to the insistent rhythmic push. Jon Craig’s mastering at Courthouse Sound gives the track a polished surface with enough weight beneath it to keep the romance from floating away.
The accompanying video, combining animation with live performance footage filmed by Steven Celestin and videography by William Murray, extends the song’s sense of velocity. Its visual language mirrors the single’s central tension between fantasy and pursuit, public spectacle and private vow.
Watch “We Could Be Fugitives” below:
With remixes from the band and NYC experimental artist Maxx Klaxon, We Could Be Fugitives makes its case as a live staple by understanding that escape, in pop music, is rarely about distance. More often, it is about the courage to move.
Listen to We Could Be Fugitives below and order the single here.
