In the early 2010s, Krill emerged out of Boston in a loosely mathy tangle of guitars and neuroses and became a cult sensation for a generation of budding indie rock fans. The band’s lifespan coincided with my late 20s and early 30s, and they came to my attention through my young millennial coworkers here at Stereogum, writers like James Rettig and Gabriela Tully Claymore who were about a decade behind me. After years of identifying as a young person, I was witnessing the rise of movements like Odd Future that felt like they belonged to the next generation. This was also the height of indie poptimism (SUCH GREAT HEIGHTS in stores now), and with each successive buzz band delving deeper into synthpop or R&B or experimental electronics, I didn’t even realize kids were still making scrappy, guitar-centric indie anymore. But my younger colleagues loved Krill, and that gave me hope for the future of the old-school indie rock that soundtracked my own high school and college years. I now realize that everything comes back around again — even Krill, apparently.
Louisiana metal powerhouse, BRAT, will release its new LP, ‘Manslayer’, on September 25 via Prosthetic Records. BRAT‘s eagerly awaited sophomore album, ‘Manslayer’, was tracked at Chicago’s Bricktop Recording, produced, engineered, and mixed by Weekend Nachos’ Andy Nelson, and mastered by Brad Boatright (Deadguy, Pig Destroyer,Lathe of Heaven) with maximum weight and minimum mercy. The follow-up to BRAT‘s 2024 debut, ‘Social Grace’, ‘Manslayer’ features 17 tracks of primitive death metal, garroting thrash, and swamp-drenched hardcore for devotees of the darkest reaches of the underground. Shock-inducing album artwork by Wes Benscoter (Mortician, Slayer), hammers home Manslayer’s macabre motif. Above all, ‘Manslayer’ represents a scaling up of ambition, sound, and vision for BRAT. The concepts are bigger, the music more widescreen, and it is all bound to translate into absolute mayhem live. “We’re evolving the bimboviolence and the campiness by making it all a little bit darker with this album, and a bit more overtly violent” says Liz“I think that will probably reflect in our stage show and our imagery as well, keeping it fun, not a total 180, but definitely progressing into something darker with it”.
Today, BRAT drops the third advance track from ‘Manslayer’, the hematic “Speculum Bleed”. The snarky single arrives via a visceral video that BRAT vocalist, Liz Selfish, claims is inspired by volcanic death metal legends Cannibal Corpse. Video directed by John Coglan.
To support the release of “Manslayer”, the band will be coming to Europe in November as support act of Napalm Death: 06/11 Lowensaal (Nunberg (DE) 13/11 Korjaamo (Helsinki, FI) 14/11 Lutakko (Jyvaskyla FI) 15/11 Olympia (Tampere, FI) 17/11Paavli Kultuurivabrik (Tallinn, EST) 18/11 Spelet Concert Hall (Riga, LVA) 19/11 Loftas (Vilnius, LIT) 20/11 Hype Park (Krakow, PL) 21/11 Narodak Hudebni Klub (Jaromer 1, CZ) 24/11 Bucharest (Bucharest, RO) 26/11 WE (Thessaloniki (GR) 27/11 Gagarin (Athens (GR) 28/11 Orfey Myuzik (Sofia, BG) 01/12 Cvetlicarna (Ljubljana, SLO) 02/12 Locomotiv (Bologna, IT) 04/12 Club Vaudeville (Lindau, DE) 06/12 Tivoli Vredenburg (Utrecht, NL)
Singer-songwriter Brody Price recalls trying to “do the Todd Snider/Guy Clark thing” by playing their old rooms like the Cactus Cafe and Old Quarter, and shares the three rules he and his band maintain.
From the moment they joined forces, TEMIC appeared as a dream come true for prog fans everywhere. The international supergroup features current and former members of Devin Townsend, Mike Portnoy’s Shattered Fortress, Neal Morse Band, Haken, Shining, Maraton and Big City. The group’s chart-topping debut lived up to the hype, but on their upcoming new album, Ceiba, they’ve grown by leaps and bounds. Ceiba comes out October 2, 2026 on Season of Mist.
Today, TEMIC are releasing the third advanced single from Ceiba. While heavy in the wake of loss, “Ashes” opens the album on an uplifting note by finding the strength that resides within the pain.
“Ceiba is a concept album about loss in all its various forms”, TEMIC says. “‘Ashes’ begins the album’s journey shrouded by turmoil and hopelessness. But through that struggle comes the fight for renewal and, ultimately, inner strength”.
Much like Terror Management Theory, the supergroup’s widely-anticipated follow-up centers on mortality. In Mayan culture, the titular tree is considered sacred for its connection to the earth, heaven and the underworld. “We love how the image of the Ceiba connects to the overarching theme of loss”, Tejeida explains. As depicted by the album’s lush cover art, it opens like a crack of lightning.
“We wrote this album together with contributions from all five members”, the band says. “We allowed ourselves to explore the songs and really extend ourselves while always keeping the emotions at the front of our minds”.
Tracklist
1. Asunder (1:35)
2. Ashes (4:55)
3. Beyond the Voice (3:58)
4. Ceased To Be (6:26)
5. Broken (4:45)
6. Casting Stone (9:16)
7. See Myself (6:38)
8. Parting the Waves Inside (7:24)
9. Night of Veils (3:38)
10. Alone (7:02)
11. As Long As We Last (10:21)
In less than a month, Fontaines D.C., now a truly huge rock band, will release their new album Dopamine Chamber. It’s going to be a really big deal. Thus far, they’ve only shared one single from the LP: “Marianne,” which has a concerning and AI-befouled video from director Dave Meyers. At recent shows, Fontaines have been playing new songs live: “Marianne” and “Six Shot Morning” in Cádiz, “Happy For You” at the Leeds Festival. On Monday night, they hit a Brooklyn crowd with another new track.
New York-based trio King Buffalo is back with new album announcement. Their seventh long player is entitled Doomsayer and ready to hit the streets on December 4th, 2026. Written and recorded by King Buffalo in Rochester, NY at KB Studios. Produced, mixed and engineered by Sean Roa. Mastering was handled by Bernie Matthews. Check out also the first single, “The Slick And The Dead”. Additionally, the band also confirmed a 3-week-long headlining tour over Europe in March, 2027. Read more…
The All-American Rejects emerged from Stillwater, Oklahoma, at the turn of the millennium, initially built around vocalist and bassist Tyson Ritter and guitarist and multi-instrumentalist Nick Wheeler. Their earliest recordings were self-produced and self-released, including a 2000 demo album and the 2001 Same Girl, New Songs EP. Those recordings helped lead to a deal with Doghouse Records and the band’s self-titled debut album, which first appeared in 2002. Mike Kennerty and Chris Gaylor joined the live lineup around that breakthrough period, creating the four-member lineup that would carry the band through its major-label years and beyond. The band’s first album
The legions of Robin Trower fans are a happy group because his prolific recording and touring career shows no signs of slowing down and, in fact, has been picking up steam.
His new album, Shine, is his second release this year, hot on the heels of his live “One Moment In Time: Live In The USA”and his eighth album since 2019. Live shows have become more frequent in recent years and have consistently been praised as high-energy masterful performances.
Trower, now 81, explains, “I think you’ve either got to keep pushing – or give up.” He added, “I think, over the past few years, I have set quite a high standard. Now I’m determined to keep that going. To still have the energy to work, that is a real blessing.”
Through several distinct career periods, Trower has always maintained a distinct and highly infectious sound to his guitar-playing that enthrals his followers.
“Shine” includes Richard Watts on vocals and Christ Taggart on drums. Watts has been with Trower since the “Go My Way” album released in 2000, and Taggart first collaborated with him on the 2009 studio album “What Lies Beneath.”
Also appearing on the album is guest vocalist Jess Hayes. Besides contributing guitar, bass, and vocals, Trower is also the writer and producer of the ten-track offering.
Trower recordings always seem to seek new ground, but this has also created a bit of a mystery. Two fan-favorite songs, “Too Rolling Stoned” and “Day of the Eagle,” have been staples in his live shows for decades, but he has never produced any songs reminiscent of them since the era when they were first released. “Shine” is no different.
However, it is a collection of slow, thoughtful compositions drenched in deliberate guitar solos. Trower says he’s focused on positive messages, saying, “I don’t want to make gloomy music. I think that most of these songs are positive.”
While he may have more focus on lyrics, fans will not be disappointed by a lack of guitar work. They are still front and center throughout.
Trower says he often starts with a lyric that will inspire his writing a new song and noted, “I usually write with Richard (Watts) in mind. I can hear it all in my head. The strength of his vocals, the beauty of his vocal tone – he’s so musical.”
The album opens with a trademark Trower guitar flourish that flows throughout the piece, creating a confluence with Watts’s vocals melding seamlessly in “The Missing Piece.” And here, he offers a possible explanation for his reluctance to recreate the earlier favorites, saying: ‘Tell myself there’s no good reason; To try to reinvent the past.’
“Shine,” the second track, carries on with a similar flow and features the positive attitude Trower mentioned, arguing, ‘Every soul can shine.’ The sentiment is reinforced by expressive solos backed by a steady backing bass.
“Love By Any Other Name,” relies more heavily on Watts’s vocals and is reminiscent of the earlier “Take This Hurt Away,” on the Come and Find Me album from 2025.
The fourth track, “Live Your Time,” was released as the first single and is described as a “soul-funk-influenced riff with Trower’s signature guitar tone.” It’s more upbeat and features some fine work by Taggart on drums, setting the pace for some rapid-fire vocals from Watts. Trower proves he hasn’t lost a thing with some excellent solo passages.
More of the positive message Trower spoke about is contained in the aptly named “Faith.” In it, writer Trower states, ‘You had faith that love Would find its rightful place.’ It is another slow, soulful offering.
A funkier, more upbeat “Driving On Through,” follows this. Some vocal effects add to Watts’s words, which are swept along with more solid guitar work from Trower.
Guest vocalist Jess Hayes adds a new dimension to the seventh track, “Truth.” It has a more R&B feel. Throughout the album, Trower provides strong lyrics and Hayes has plenty to work with here. The funkier sound continues in the next track, “The Race.” But this time it’s Taggart’s drums providing a backing punch to Trower’s solos.
Much of the album reflects in general terms about the future, hope and awareness. But, on the next track “Without You,” as well as “The Missing Piece,” and “Faith,” there is a more personal approach with the lament of a lost love. And the final track, “It’s Not Time,” is a slow, sombre piece, carrying on with some more personal reflection.
This new album offers plenty of signature Trower guitar work, an abundance of soul and thoughtful lyrics.
Over six decades, Trower has successfully fronted a variety of partners, almost exclusively in a trio format. And the partnership with Watts and Taggart is definitely a winning combination. The album will be a welcome addition to their recent collaborations.
The Review:8/10
Can’t Miss Tracks
– Driving on Through – Shine – Missing Piece – Truth – Live Your Time
