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The Swedish singer spent a decade toiling outside the spotlight. But a PinkPantheress remix, a rainbow-streaked dolphin and an ability to roll with the punches brought her back.

Nieves González, a 29-year-old painter, once worked in relative obscurity in Andalusia. Her picture of the British singer Lily Allen changed that.

Brick Briscoe 2026 Digging into the depths of existential dramas, a Hoosier singer-songwriter discovers wondrously moving, and often optimistic, details behind the veil of sorrow. Brick Briscoe may reside in Indiana, but all of his albums contain songs whose titles … Continue reading →

The post BRICK BRISCOE – Found Footage appeared first on DMME.net.

Traditional heavy metal force SULPHUR AND MERCURY unveil their new single “Sulphur Eternal”, marking another step forward in the band’s evolving path.

Built upon their unmistakable foundation of occult-tinged classic metal, the track carries a renewed sense of purpose, shaped by the band’s reconfigured line-up and a sharpened creative direction.

“Sulphur Eternal” blends brooding atmospheres with riff-driven intensity, drawing from the spirit of late ’80s heavy metal while forging a distinct identity. The result is a dark, immersive composition that balances melody, weight, and arcane mood, reaffirming SULPHUR AND MERCURY as a compelling force for those drawn to the more esoteric side of traditional metal.

The band comments:

“‘Sulphur Eternal’ is our anthem – an unabashed affirmation of our dedication to the trade and task of sonic metallurgy. We wanted to make a triumphant ode to the classics of metal’s yesteryear, but also a song we could call ‘our own’ – a battle cry of sorts. Melodic passages and exultant choruses combine to make it an instant call to arms. Under the fist of Mercury, the sulphur legions unite!”.

YouTube: https://youtu.be/psvLHPXSVNI

Streaming: https://ffm.to/sulphur-and-mercury-sulphur-eternal

SULPHUR AND MERCURY:

https://sulphurandmercury.bandcamp.com

https://www.facebook.com/sulphurandmercury

https://www.instagram.com/sulphurandmercury1987/

Time To Kill Records:

https://timetokillrecords.bandcamp.com/

https://www.instagram.com/timetokillrecords/

https://www.facebook.com/timetokillrecords/

https://timetokillrecords.com/

Venom are certainly one of the most influential bands in heavy metal. They set the standard for raw and devilish metal with their first albums, which are now considered classics. Albums like “Welcome to Hell” and “At War with Satan” defined a whole new genre, which was also given a name with the “Black Metal”… Continue Reading →

Von Groove return from a more than two-decade silence with Born To Rock, and to be honest I’ve waited a long time for this. Von Groove was in my estimation one of the very best Melodic Hard Rock bands of the 90’s, and with this return they go straight for the throat – kicking the door off its hinges and demanding to be heard. Reuniting the classic lineup of Mladen, Michael Shotton, and Matthew Gerrard, this feels so right – it’s the sound of a band remembering exactly why they mattered in the first place.

The opening title track “Born To Rock” sets the tone immediately: big, unapologetic, and dripping with classic Hard Rocking swagger. It’s fun, references time travel and tells the well worn story us of us Rockers share. The chorus is so huge you can’t even see over it, and during the first play you’ll be singing along. If you loved this band before then you will be amazed by how great this comeback sounds. There’s a knowing wink to their own legacy here, with a nod to ‘Once Is Not Enough” ‘oven into the fabric of the song, which feels like a statement of survival—Von Groove reasserting their identity with blazing guitars, punchy rhythm work, and a chorus built for fists-in-the-air moments. It’s the sound of a band not just returning, but reawakening.

From there, ‘Fearless’ is pure ‘blue sky’ shimmering Melodic Rock and ‘Champion’ keeps the momentum locked in, leaning hard into the record’s core strength: melodic Hard Rock with real tenacity behind the rock solid hooks. Shotton’s dual role on drums and vocals gives the album a tight, cohesive drive, while Gerrard’s bass work keeps everything anchored in a solid, radio-ready groove. But there’s plenty of contrast ‘Fearless’ has more urgency, and ‘summer day’ energy, while ‘Champion’ opens things up into something more Metallic, a little harder and anthem-like, with a touch of vintage Bonfire  or Dio, it was built for big stages and has a more ‘European’ feel. Both are stunning.

Mid-album cuts like ‘Adrenaline’, ‘Angela’, and ‘Undefeated’ show just how comfortably Von Groove slide back into the sound of their glory days without being afraid to give it an edge. They effortlessly hit that Hard Rocking sweet spot without sounding frozen in time. ‘Adrenaline’ lives up to its name with a sharper edge and just a little darker, with a more understated chorus that just works. Contrastingly ‘Angela’ brings the pace down, a stuttering, deliberate slower number shot with melodies, giving an emotional pull that intensifies the feeling of loss in the lyric of lost love. But it’s ‘Undefeated’ in particular feels like a mission statement—it soars, defiant, hook-heavy, and steeped in that classic melodic Hard Rock optimism that keeps us all going and refusing to quit. It’s a highlight as big and bold as the opener, but like ‘Champion’ a little harder-edged, without giving up an ounce of melody.

The heart of the record opens up further with the Def Leppard-like Melodic gem ‘Do It All Over Again’ and the hugely uplifting ‘Heart Of Forgiveness’, where the band lean into a Billy Squier-like groove and top that great groove with one of the best choruses on the record! There’s a maturity here that comes naturally after such a long gap—less about proving anything and more about reaffirming why this sound still matters. ‘Do It All Over Again’ in particular feels like Von Groove looking back without regret, while still driving forward with intent. This is a seriously great album.

The closing stretch comes too soon —‘Dreams’, ‘Waiting For The Sky To Fall’, and ‘Always Endlessly’—tie everything together with a strong sense of all you loved about Von Groove and all you will love about this album. ‘Dreams’ rides a funky bassline that makes you think of Tyketto, and keeps the melodic flame burning bright, ‘Waiting For The Sky To Fall’ the real big ballad here adds an emotional edge in it’s orchestration, which is lush but not overblown, letting the lyric take centre place. Final track ‘Always Endlessly’ was a huge surprise, I mean after a ballad like that the last thing you expect is another ballad! What it shows is how great these guys are at pouring emotion into a song, this one is even bigger, more orchestrated, absolutely AOR, and feels like a real jolt back in time. It is huge. Ending with two ballads might just be the next big thing!

By the end of ‘Born To Rock’, you sit exhausted, grinning from ear to ear. This is wonderful. Von Groove haven’t just revisited their past—they’ve reaffirmed their place in the present. It’s polished, powerful, and packed with conviction: a comeback album that actually earns the word comeback and sees them right back at the top of the tree. I have to go now, I have to play it again… and again…

This is a solid 9 /10 – what a return!

The post ALBUM REVIEW: VON GROOVE – BORN TO ROCK appeared first on The Rockpit.

This four-part documentary manages to convey a few things, one being that the suspect (who has since pleaded guilty) is nuts, and second that most of the people involved with publicizing the case are nuts.

If we have any words for Rex Heuermann, it is that he killed the wrong whores. The media whores are worse than the regular kind. Journalists (AJAB), activists, politicians, and the horrible families of the victims all joust for attention in this four-part series that could easily have been one one-hour segment.

For starters, people almost uniformly have nothing coherent to say; they recite clichés and make appeals to emotion, but other than moralizing about how someone should fix their lives, they give us nothing of importance.

All of the families, for example, recognize that their daughters were working as escorts. Cue lengthy excuses. Then, when the daughter vanishes, suddenly society needs to drop everything and spend all its money fixing the situation.

No one can tell them simply that they are terrible parents and their kids, most of whom are weird spare parts genetics experiments, died as a result of that because they were prostitutes as a result of that.

The two highpoints:

1. The nice lady from Long Island explaining how at first the neighborhood was terrified by the killings, but then when it became clear the killer was targeting sex workers (whores, prostitutes) everyone felt better because that meant they were in the clear. Hint: 99% of humanity feels this way about these killings.
2. The hilarious squishy and baritone female friend of one of the dead sex workers recalling how she told her friend, “Hey, you like to fuck random people, maybe at least get paid for it.” She delivers this without a shred of shame or remorse.

The families are uniformly horrible, with the single mothers (no fathers are featured except the killer) routinely having trouble articulating simple thoughts, and making lots of excuses for how their kids turned out.

Heuermann is also horrible, since his family seems to live in a different multiverse than he does, and of course the descriptions of his acts make it clear that he is a very troubled man with a good deal of rage.

The secret to serial killers, it seems to me, is how absolutely boring they are. Their lives are boring quiet desperation, so they get a boring hobby, namely acting out the same pathology over and over again in the hops that somehow it will magically imbue their hollow existences with meaning.

Similarly these prostitutes seem like boring people. They have no quest in life except their own pleasure, and they cannot stick to any productive activity, so they are doing dumb whore things and then getting shocked when one of their clients turns out to be every bit as nuts as you expect a john would be.

The kicker of this series is that the death which started the investigation, Shannan Gilbert, does seem like natural causes as the coroner originally stated. She met a john, took some drugs, and ran off babbling into the bullrushes where she got hypothermia, took off her clothes, and laid down to die like a Russian conscript watching the Ukrainian drones approach.

If we never hear anything again from Kristen Thorne, the AJAB who narrates, it would be good, and if Gloria Allred disappeared too, it would be better. Both of them offer a French Revolution victimhood situation that imputes the dangers to these women to the way the world treats women generally, forgetting that most women are not hoors or AJAB therefore have reasonable enough outcomes.

This could have been done in ninety minutes, or better yet, an hour. The forensics and clue-searching is the only interesting part, since serial killers are boring and sex workers are even more creepily fattily boring, but all of the weepy family interviews and bloviating by political figures is empty like your average corporate job.

It is amazing how similar this is to Netflix, NPR, and Hollywood documentaries. Amazon had a chance to break the pattern and pursue quality, but instead they just made the same dreck as everyone else, which gives the film consumer no real options.

It is also amazing how in a broken society full of weird people acting out odd pathologies, a Rex Heuermann did not stand out as a risk; instead, he was just idiosyncratic, at least until dead prostitutes started piling up on Gilgo Beach.

Hollie Rogers releases her fourth single & video Bad Woman taken from her forthcoming album Everything’s Fine, due for release June 5^th.  The new single follows the album’s title track ‘Everything’s Fine’, which won Classic Rock Magazine’s Track of the Week, while Americana UK praised the video, calling it “one of the best videos we’ve seen this year”.

Speaking of the new track, Hollie says, “Bad Woman was written with Daisy Chute and Howard Rose, and I instantly connected with it. We loved playing with dual perspectives and worked to keep the lyrics applicable regardless of the gender or orientation of the singer. That also creates a bit of mystery for the listener which I really like. Ultimately, it’s about that relatable feeling of being pulled towards something you know isn’t good for you, but you go there anyway. It’s a bit darker than some of the other tracks on the album but retains a playful edge.”

Hollie describes Everything’s Fine as “an album that reflects life in all its chaos, beauty, and unpredictability. Some tracks are deeply emotional, others are uplifting, and a few manage to be both at once. The album explores the full range of human experience, from joy and heartbreak to messy, thought-provoking moments. While some songs are raw and relatable, others are simply fun, but all are rooted in honest storytelling and emotional connection. In the end, it’s a reflection of life as it unfolds, a soundtrack to the everyday highs and lows.”

Hollie is currently on the road with her Everything’s Fine Tour, performing across the UK and beyond in a mix of intimate duo shows and full band performances.

SPRING Pre-Release Duo/Band Tour – “Everything’s Fine Tour (Chapter 1)”

Apr 24 – The Bear Club Luton (Band)
Apr 25 – Sudbury Arts Centre, Suffolk (Duo)
May 1 – Otford Hall, Sevenoaks (Duo)
May 29 – The Lighthouse, Poole (Duo)
May 31 – Cromer Centre, Norfolk (Band)
Jun 7 – The Harlington, Fleet (9 piece band – ALBUM LAUNCH)

SUMMER
Jul 11 – Drawing Room, Chesham (Duo)
Jul 30 – Spring Arts Centre, Portsmouth (Duo)
Aug 8 – Nuernberg Guitar Festival, Germany (Solo)
Aug 21 – Old Bush Blues Festival, Worcestershire (Band)
Sep 3 – Ropetackle Arts Centre, Shoreham (Band)
Sep 6 – British Country Music Festival, Blackpool (Band)
Sep 12 – South Downs Folk Festival, Bognor (Duo)
Sep 16 – St Ives Arts Centre, Cornwall (Solo)

NOV “Everything’s Fine Tour (Chapter 2)”
Nov 6 – aRTy Barn, Hemel Hempstead (Band)
Nov 13 – Cranleigh Arts Centre (Band)
Nov 19 – Ropewalk, Barton-Upon-Humber (Duo)
Nov 20 – The Live Room, Saltaire (Band)
Nov 24 – Tuesday Night Music Club, Coulson (Band)
Nov 26 – Greystones, Sheffield (BAND)
Nov 27 – Chapel Arts Centre, Bath (Band)
Nov 28 – The Acorn, Penzance (Band)
Dec 5 – Nelly’s, Stratford-Upon-Avon (Duo)

Everything’s Fine will be released 5^th June 2026.
Pre-orders Now Open www.hollierogers.com/store

Single Bad Woman is OUT NOW on all digital platforms
www.slinky.to/badwoman

Website: https://www.hollierogers.com/
FB: http://www.facebook.com/hollierogersmusic
INSTAGRAM: www.instagram.com/hollierogersmusic

The post HOLLIE ROGERS Releases Fourth Single & Video ‘Bad Woman’ From Upcoming Album ‘Everything’s Fine’ appeared first on The Rockpit.

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The post Spread Eagle drop video for new single “Flat Earth Vultures” and announce upcoming tour dates first appeared on Sleaze Roxx.

How Queen made Innuendo and Made In Heaven against the odds