Created by songwriterLucca Del Vecchio, the projectShifterspresents the album“Down That Road”, a work that dives into the universe of alternative rock while also connecting with the genre’s classic roots. The record is built around the idea of a journey — physical, emotional, and spiritual. Throughout the tracks, the album explores paths of transformation, discovery, and movement, translating into music the different stages and feelings that shape this journey.
Musically,“Down That Road”combines the raw energy of classic rock with strong influences from bands likeLed Zeppelin, creating a fusion between the traditional weight of the genre and more contemporary elements. Expressive guitars, engaging melodies, and dynamic atmospheres drive the project’s sound.
Another element that reinforces the identity of the work is the touch of“Brazilian spicy”, a layer of personality that adds warmth and authenticity to Shifters’ sonic proposal. With“Down That Road”, Shifters consolidates an aesthetic that connects the past and present of rock, inviting listeners to embark on an intense and energetic musical journey.
Their sons may have eclipsed them in the 21st Century, but for a sleazy moment, Grave Diggler left its stain on hard partying rock n’ roll with decadence, desecrations, and panty raids. The group once stood shoulder to shoulder with their eyeliner-and-excess peers in Poison, Mötley Crüe, and W.A.S.P., before bad business and even worse drugs dampened the fire in their loins. By the early ’90s, like many glam bands, Grave Diggler faded from the spotlight.
But history has a strange way of digglering up the past.
When the directing duo behind Scream (2022) and Scream VI, began work on the sequel to their 2019 black comedy horror hit Ready or Not, they desperately wanted to include one of Grave Diggler’s forgotten classic anthems. But even after Radio Silence Productions deduced the connection with Spencer Charnas, securing the rights was no mean feat.
The ensuing legal battle between fathers and sons resulted in Ice Nine Kills re-recording Hell or High Slaughter (Grave Diggler: Pt. 2) for Ready or Not 2: Here I Come and the long-banned 1987 music video for the song seeing the light of day.
“I’ve been estranged from my father for a long time,” Spencer explains. “But this movie, and this song, while bringing a lot of complicated feelings to the surface, also brought us back together.”
Broken Lizard’s Paul Soter (Super Troopers), a lifelong Diggler obsessive, teamed up with director Myles Erfurth (Pandemic Sex Party) and Spencer to detail the band’s tale in a forthcoming documentary.
Laid to Rest: The Grave Diggler Story features all-new interviews with Ready or Not 2: Here I Come’s Samara Weaving (The Babysitter), Kathryn Newton (Freaky), Elijah Wood (The Lord of the Rings), and directors Matt Bettinelli-Olpin and Tyler Gillett; Stephen Pearcy (Ratt); Matt Pinfield (MTV); Michael Starr (Steel Panther); Jose Mangin (SiriusXM); James A. Janisse and Chelsea Rebecca (Dead Meat); Andy Gould (former Rob Zombie and Guns N’ Roses manager); and both Sonny and Spencer Charnas.
In recent years, Ice Nine Kills toured the world with Metallica; A Grave Mistake went gold; A Work of Art was in Terrifier 3, the highest-grossing unrated film ever; and Twisting the Knife ft. Mckenna Grace, from Scream 7 (which topped the box office upon release and set a franchise best record for Scream) shot to No. 1 on multiple Billboard charts.
But even as Ice Nine Kills Presents Hell or High Slaughter (Grave Diggler: Pt. 2) blazes into Ready or Not 2: Here I Come (playing both in an early scene and again over the closing credits), Sonny Charnas remains characteristically unimpressed. “You call my son shrieking into a microphone like a meshuggah mental patient ‘singing’? That’s not heavy metal. I’m heavy metal.”
Ice Nine Kills will return to Australian stages this September, supporting Electric Callboy nationally in Perth, Adelaide, Melbourne, Sydney and Brisbane.
Oh, I was one with the tangled grasses, I said “Good morn” to the laughing wheat; Washed my heart in the crooning waters, And happy I whispered, “life is sweet.”
Heart of the Nearest Star’s A Prison Escape begins with a paradox so old it still feels fresh: the cell is interior, and the key, if there is one, lies somewhere between perception and grace. Drawing inspiration from prison verse and staging its reverie inside a decaying Victorian house in Providence, the duo turns confinement into an atmosphere of the mind, then lets that atmosphere seep into every surface. A woman moves through mirrored rooms and circling staircases as though wandering inside a thought she cannot finish. Each passage doubles back. Each reflection carries a slight spiritual error. The house, with its aging wood and watchful corners, seems less like a backdrop than a condition.
The film’s peculiar charge comes from pairing formal unease with a deep, almost pastoral longing. The imagery is full of enclosure, but the emotional weather keeps reaching outward, toward fields, water, birdsong, and June light. That contrast gives the piece its shape. The body remains indoors while the imagination strains toward open air, toward grasses and wheat, toward the small natural rites that restore proportion to a life that has narrowed too far. The result feels devotional without becoming pious. Release arrives as a shift in consciousness, as though freedom were not a door flung open, but a veil quietly lifted.
The music is central to this effect. Heart of the Nearest Star works with dissonance, dream-state drift, voice, texture, and distortion in ways that suggest intimacy under pressure. The compositions move with the unstable coherence of dream logic, as though some vital message were being addressed directly to you from just across a threshold you cannot cross, or in a language you almost recognize but never fully decode. Tones blur at the edges, then gather into something nearly liturgical. The band understands how to make abrasion feel tender and beauty feel slightly endangered. There is a patience to the composition that suits the film’s oneiric logic; rather than pushing the viewer toward revelation, it lets revelation accumulate by degrees, through repetition, dislocation, and subtle sensory overload. One begins to feel that the film’s true subject is not imprisonment alone, but the strange human habit of building psychic rooms and then mistaking them for the world.
Christopher John White and Monica Jo Fields, who direct, produce, perform, and contribute music, maintain an impressive unity of vision throughout. Their collaboration has the sealed quality of a private cosmology, sustained with unusual care. John Francis Glynn’s lyric provides the seed of transcendence, while Ben Price’s mastering helps the music retain its density without losing detail. A Prison Escape is a work of austere beauty and private panic, one that understands how quickly the mind can become a house of mirrors, and how miraculous it can feel when, for one brief moment, a window opens.
Watch A Prison Escape below:
Listen to A Prison Escape below and order the track here.
I’ll meet you under the cover of darkness Take a walk with me and show me what I’ve missed Descending glow like a nocturnal rainbow Illuminating shadows stretching over me
Rani Sharone has lived enough musical lives to make most careerists look like they’ve been standing in line at the deli. Session musician, ghost writer, touring player, bandleader, concert-hall composer, animation-house insider; the résumé reads like somebody kept changing masks at a party and every mask came with its own passport stamp. There is something delicious about And It Was Night, a project that takes all that mileage and pours it back into a form built for mood, movement, and the old glamorous unease that goth has always sold best when it remembers to loosen its collar.
His latest single, What’s Beyond the Light? feels like the work of somebody who understands that darkness is rarely empty; rather it is crowded, busy, suggestive, full of half-seen impulses and private little panics dressed up for an evening out. Sharone draws from Depeche Mode, The Cure, Nick Cave, and the broader back room of dark alternative pop, but he handles those influences with enough poise that they feel like old debts paid in full rather than names dropped for atmosphere. The result has body and reach. The beat keeps moving with a dancer’s discipline while the guitars spread a soft blur around the edges, and the electronics give the whole thing a narcotic glow, like the moon reflecting off a windshield at the exact moment you realize you may have missed your turn ten miles back.
The song’s central idea is a beauty: a guide leading someone through the night while perception starts slipping around like loose floorboards under wet shoes. Moonlit walks inspired it, and you can hear that origin in the way the track treats darkness as both seduction and setup. Night reveals, but it also rearranges. Familiar things take on strange proportions. Fear sidles in beside wonder. Love becomes a lantern with weak batteries. Sharone understands that the mind is a terrific special-effects department when it gets left alone with a little weather and a little desire.
The force that keeps this from drifting into perfume-counter gloom is the song’s sense of purpose. It wants the club, certainly, but it also wants that private internal cinema people carry around without admitting it. You can picture the dry ice, the black clothes, the solemn faces trying very hard to look blasé, yet there is real feeling under the makeup. The track moves with elegance, but there’s unease in its bloodstream, and that tension makes it live.
For a third single, this is a strong statement of intent. Sharone sounds like a man returning to his first love with better tools, sharper instincts, and enough lived-in mystery to make the romance worth following into the dark.
Good Day Noir Family,
AYCE step forward with All You Can Eat, an EP that right away establishes identity and intent.
All You Can Eat is AYCE’s EP Out Now
What stands out immediately is the directness of their approach: no detours, no hesitation, just a sharp injection of modern rock energy driven by clear songwriting choices.
“Hardball” sets the tone with a tight rhythmic structure that pulls the listener in without friction. Sara Bunge’s vocal performance becomes the central force, carrying grit and control. Her delivery doesn’t rely on excess; it channels an instinct for rock phrasing that feels embedded rather than constructed. Her stage presence translates into the track, giving it a physical edge that extends beyond the studio.
“Sound Off” raises the intensity further. What defines it is not just speed or volume, but the character of the vocal delivery. There’s a raw quality that echoes the spirit of the ‘90s, without falling into imitation. Still, the band maintains a modern frame, allowing the track to feel current rather than nostalgic. The song hits with a sense of urgency that feels focused.
“Turn It Around” introduces a more circular melodic approach, especially in the chorus. Notably, the hook works through repetition that builds momentum rather than redundancy. The melody loops in a way that mirrors the title, reinforcing the concept through structure. The band shows control over dynamics, balancing drive with clarity. This track confirms that AYCE are not relying on energy alone; they understand how to shape it.
“Broken Past” closes the EP with a more hypnotic direction. While the verses stay tight and restrained, the chorus opens up with instinctive force. The contrast between these sections creates tension that keeps the listener engaged. Even so, the band never loses cohesion, maintaining a clear sonic identity throughout.
Beyond that, AYCE demonstrate a strong sense of direction. Their sound blends raw energy with a conscious nod to the past, yet always filtered through a contemporary lens. The songwriting remains accessible without becoming predictable, which is a crucial balance at this stage.
A band to watch closely, AYCE shows momentum and clarity in their artistic path.
All You Can Eat is AYCE’s EP Out Now!
Explosive!
AYCE is a high-energy rock band driven by the powerhouse vocals of Sara Bunge, the keyboard and production work of Jessica Heming, and the songwriting and drumming of Ramsey Ord. Their name, short for “All You Can Eat,” reflects both their debut EP and their bold, hook-driven sound. Blending strong melodies with anthemic intensity, AYCE delivers a punchy, modern rock experience designed to get crowds moving, led by Sara’s commanding stage presence and undeniable edge.
Rebel (Яebel) released her new single, “Sanguis Vocat,” last week alongside a music video. The track is a beautiful, atmospheric piece of heavy music, steeped in darkness across its lyrics, tone, and performance. Rebel’s vocals carry the mood effortlessly, revealing striking talent and strong potential from the young artist.
Watch the music video for “Sanguis Vocat” below, and support Rebel by following her on her socials.
Good Day Noir Family,
SPONSIAN approach “Party Song” with a sense of urgency that refuses to settle into predictable patterns.
Party Song is Sponsian’s Single Out Now
The opening moment already signals something unusual, as an almost ancestral scream erupts like a rallying cry before battle.
The impact is immediate, pushing the listener straight into a chaotic mosh pit atmosphere.
The band quickly disrupts that intensity with a brief slowdown, creating a sharp contrast that keeps attention locked. The return of the aggressive section hits harder, driven by a primal energy that suggests controlled chaos rather than randomness. The track develops a physical presence that goes beyond standard alt-rock or metal structures.
At around the one-minute mark, the song shifts again in a surprising direction. Notably, the mood becomes darker and more dreamlike, almost ritualistic in tone. The vocal treatment expands with noticeable reverb, opening the space and allowing the voice to drift over the instrumentation. The guitar work stretches into elongated solos that seem to dissolve into time, while other faster phrases cut through with precision.
This section builds a hypnotic progression, where long vocal runs intertwine with increasingly rapid instrumental passages. Still, the band maintains control, guiding the listener through what feels like an evolving sonic ritual. The pacing gradually accelerates, and when the rhythm surges back, it lands with the force of a rising flood.
On the other hand, the chorus introduces a different layer of identity. The shouted delivery carries a clear influence from The Offspring, injecting a punk-driven edge into the track’s heavier core.
Beyond that, the track refuses to end on a single idea, shifting once more into a more atmospheric phase that adds depth to the overall structure. This constant transformation highlights a band willing to take risks without losing cohesion.
A bold and unpredictable composition, “Party Song” confirms that SPONSIAN thrive on experimentation while maintaining a strong sense of direction.
Party Song is Sponsian’s Single Out Now!
Ritualistic!
SPONSIAN are a UK-based alt rock/metal band driven by groove, intensity, and a clear sense of purpose. Alongside the debut EP, the band have released experimental singles “Happy” and “Questions,” showcasing their willingness to explore beyond genre boundaries.
On stage, SPONSIAN bring their sound to life with commanding energy, delivering sharp riffs, deep basslines, forceful drumming, layered synth textures, and expressive vocals that carry each story with impact.
heGood Day Noir Family,
David Alex-Barton returns with “Crush,” a single that leans confidently into warm Nashville tones and a rhythm that rolls with easy swagger.
Crush is David Alex-Barton’s Single Out Now
The groove settles quickly, and the track carries that unmistakable country-pop heat—smooth, slightly sultry, yet polished. It’s music designed for late-night drives and neon-lit bars.
The hook is what truly anchors the song. The chorus opens wide and lingers long after it ends. It’s undeniably catchy without sounding forced.
The verses reveal careful craftsmanship. The instrumentation pulls back just enough to allow the lyrics to step forward. During these moments, the guitar answers the vocal lines with subtle riffs, strengthening the call-and-response dynamic. This interplay heightens the emotional pull and adds texture to the arrangement.
Each section transitions smoothly into the next. The bridge introduces contrast, then strips the arrangement down before relaunching the final chorus with renewed energy. This dynamic control keeps the song engaging throughout.
The video enhances the mood effectively. Models move slowly across the screen, reinforcing the track’s sensual undertone. The visual aesthetic matches the song’s warm palette. It doesn’t overcomplicate the concept. It amplifies the atmosphere already present in the music.
Alex-Barton’s production style remains consistent. His tracks are constructed with clear intention, and “Crush” follows that pattern. The balance between rhythm, melody, and visual storytelling feels deliberate.
“Crush” thrives on confident pacing and strong hooks. It blends country influence with modern polish while maintaining accessibility. David Alex-Barton delivers another tightly crafted release that understands its audience and leans fully into its identity.
Crush is David Alex-Barton’s Single Out Now!
Sultry!
David Alex-Barton is a singer/songwriter/guitarist/producer from New England and is now based in Nashville, TN. David is currently working with Shake ‘Em Up Music and Liberty Music Licensing. Barton has had 4 tunes in the top 10 on the Hot Disc Top Forty Country Charts. David was the founding member, songwriter, vocalist, guitarist of Boston’s legendary power pop punk band The Outlets. David has toured the New England area for several years as the vocalist/guitarist/songwriter for the country rock band Tattoo Cowboy.
Good Day Noir Family,
The first strum of “Take My Heart (to Its Grave)” by Jonivan Jones drops you straight into a Coen Brothers film.
Take my heart (to its grave) is Jonivan Jones’ Single Out Now
There’s a renegade atmosphere in the air, the kind that smells of dust roads and hidden stills producing moonshine deep in the American backcountry.
The guitar doesn’t hide behind studio gloss. It sounds real, unpolished, and honest.
That raw quality becomes the song’s backbone. Jones opts for directness rather than decoration. The acoustic tone rings out with clarity. The minimalism strengthens the narrative pull. Nothing distracts from the story he’s about to tell.
When his voice enters, it carries weight and history. It’s a lived-in voice, textured by experience, almost as if those vocal cords have soaked in years of whiskey and hard lessons. It communicates authenticity. The emotion comes through naturally, without theatrical exaggeration. The listener leans in closer.
The song builds intensity through restraint. The arrangement remains sparse, yet the atmosphere grows thicker with each verse. The imagery it evokes is vivid: southern swamps wrapped in fog, rattlesnakes coiled in the dust, forgotten towns under a burning sky. The track doesn’t rush; rather, it unfolds at its own pace, trusting the listener to follow.
The storytelling stands at the center of everything. Jones crafts a narrative that feels grounded in a real America, far from polished highways and bright city lights. Subtle melodic turns keep the ear engaged. The chord progression avoids complexity, yet it supports the emotional arc perfectly. That simplicity reinforces the sincerity he clearly aims for.
By the end, “Take My Heart (to Its Grave)” leaves behind a lingering sense of solitude and grit. It’s intense, stripped down, and unapologetically honest. Jonivan Jones proves that sometimes the strongest impact comes from saying more with less.
Take my heart (to its grave)is Jonivan Jones‘ Single Out Now!
Gritty!
Take my heart (to its grave) is Jonivan Jones’ Single Out Now
Jonivan Jones is a performing songwriter from Arkansas with some roots in South Texas whose music blends folk, Delta blues, early Western sounds, and a touch of psychedelia. Shaped by Ozark folk traditions, Sylamore Creek fire-circle sessions, and years of self-recording and touring under various projects, his style reflects a deep reverence for American roots music and its shared human stories.
There are some artists that define a moment in your life—and for me, Lorraine Lewis was one of them. Back when bedroom walls were sacred ground, she was one of only three posters that made the cut. Decades later, she’s still out there—still fearless, still unapologetic, and still rocking. Of course, that kind of staying power doesn’t happen by accident.
Lorraine first tore onto the scene fronting Femme Fatale in the late ‘80s, right as the Sunset Strip was exploding in a haze of hairspray, hooks, and hedonism. Their self-titled debut in 1988 was everything that era promised—big riffs, bigger choruses, and a frontwoman who could command a stage like few others. Tracks like “Waiting for the Big One” and “Falling In and Out of Love” weren’t just songs, they were statements—bold, brash, and impossible to ignore.
And at the centre of it all was Lorraine: equal parts rock siren and streetwise force of nature. While many of her contemporaries faded when the tides turned in the early ‘90s, Lorraine never really went away—she just evolved. There were projects, reinventions, and a refusal to be boxed in by nostalgia. Whether stepping back into the spotlight with new iterations of Femme Fatale or carving out her own path, she’s always carried that same fire that made her such a standout in the first place.
In recent years, she’s embraced a whole new chapter, bringing her voice to Vixen—one of the most enduring names in hard rock. It’s a role that felt almost preordained: a powerhouse vocalist stepping into a band built on hooks, harmony, and heart. And true to form, Lorraine didn’t just fill the space—she owned it, breathing new life into a catalogue that spans generations while stamping it with her own unmistakable attitude. But in true rock and roll fashion, the story took another unexpected turn when Lorraine was let go from Vixen—seemingly out of the blue.
For many, that might have been a moment to step back. For Lorraine Lewis, it’s just another pivot point. Because if rock history teaches us anything, it’s that resilience is everything—and Lorraine has that in spades. And as the saying goes, when one door closes… another one kicks wide open.
Next on the cards is an exciting new collaboration with Steve Brown of Trixter, with a brand new album slated for 2027. It’s the kind of pairing that makes perfect sense—melody, muscle, and a shared love of big, unapologetic rock and roll. Through it all, what’s remained constant is that connection—to the fans, to the music, and to the spirit of rock and roll itself. Lorraine Lewis isn’t just a survivor of an era; she’s a reminder of why that era mattered in the first place. And now, she’s bringing it all full circle… because Lorraine Lewis is on her way Downunder.
