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  • Jack J Hutchinson unleashes third single and video “Solar Fire” ahead of new album ‘Soul Believer’

    Hard-rocking blues guitarist and songwriter Jack J Hutchinson has released his brand-new single, “Solar Fire”, along with an accompanying music video. The track is the third cut lifted from his upcoming studio album Soul Believer, co-written alongside producer Josiah J Manning and featuring Billy Hammett behind the kit. The video is below, or head here … Continue reading Jack J Hutchinson unleashes third single and video “Solar Fire” ahead of new album ‘Soul Believer’
  • Tom Morello looks back on Rage Against The Machine’s naked protest at Lollapalooza ’93

    Tom Morello has spoken about Rage Against The Machine‘s legendary and infamous naked protest onstage at Lollapalooza 1993.

    On July 18, 1993, as the opening act on Lollapalooza’s main stage, Morello and bandmates Zack de la Rocha, Tim Commerford, and Brad Wilk walked onstage naked at the JFK Stadium site in Philadelphia with black tape over their mouths and the letters P-M-R-C written in paint on their chests: the initials were a reference to the Parents Music Resource Center, a coalition of politicians’ wives who campaigned against violent and sexual imagery in music, and pressured record companies to flag up releases featuring ‘Explicit Content’. The group stood onstage for 15 minutes without playing a note of music, to make a statement against censorship and right-wing politicians’ attempts to erode First Amendment rights.

    In a new interview with NME, Morello shares his memories of the landmark protest.

    “We were going to do it in Washington, DC,” he recalls, “but there was disagreements about what the protest was going to be, so we did it in Philadelphia. The record company had brought down everybody to be like, ‘Here’s Rage Against The Machine’. Lollapalooza was a phenomenon – that year, it had sold-out before they announced the bill. We were the first band on.

    “Our tour manager was the only person who knew what we planned to do, and he’d worked out we had 15 minutes before the cops arrived, and we’d have to get the hell out of there,” he continues. “Backstage, we have our clothes on, and Layne Staley – whose band Alice in Chains is headlining – said to me: ‘I came early today. I heard you guys are great. I can’t wait to see you.’ I reply: ‘You’re going to see us all right!’ [Laughs].”

    Looking back on the band’s provocative protest, Morello says, “We stripped, walked out and the crowd goes bananas. ‘Cause one: it’s Lollapalooza, two: it’s naked guys, some of whom are fairly well-hung. Three: it’s a protest. The guitars are squealing back.

    “For the first five minutes, it’s euphoria. For the next five minutes, it’s a strange stand-off as the audience realise we’re now in minute seven, eight, nine… that’s a long-ass time to be standing buck-naked in a football stadium. During the last five minutes, it’s hostile – they’re throwing quarters at our dicks! People are booing. They now realise they’ve stepped into a pile of political art. Then we leave without playing a single song, and there’s a murderous outpouring from the crowd!”

    Morello recalls that, as the Philadelphia police came looking for the band, he hid out on Fishbone’s tour bus, still naked, and watched Stars Wars.

    “The point was you cannot take controversial music for granted,” he concludes.

    Morello’s solo album Everyone Gets Everything They Want is out now.

  • Amon Amarth – The Allfather Awakens: Viking Metal Stays Firmly In Its Lane

    Amon Amarth release The Allfather Awakens on 2 October 2026 via Metal Blade Records.

    In many quarters, the rise of Amon Amarth to festival headliners remains something of a mystery. Thirteen albums and over 30 years under their belt, the band that burst out of Sweden in 1992 and plays a repetitive style of melodic Death Metal. They still mystify me with some of their music.

    Amon Amarth – The Allfather Awakens

    Release Date: 2 October 2026

    Words: Paul Hutchings

    It is almost a parody, a laughable pastiche and a topic that is surely wearing thin. But no, there is still ample in the tank, and the lake of Odin and Norse mythology continues to provide lyrical content aplenty.

    Underneath it all, the twin guitar attack, melodious Death Metal and hammering rhythm section that underpin Johann Hegg’s gravel-throated roar still appeal. Stand in a crowd of thousands in front of these Swedish Vikings, and it is almost impossible to refrain from punching the air, banging that head or, dare I say it, joining in on the rowing which has become traditional at their shows.

    I will freely admit that their last few albums have merely grazed me as they passed by. Shield Wall on 2019’s Berserker is one of the few tracks I could name.

    But such is their catalogue between their origins on Once Sent From The Golden Hall through to Twilight Of The Thunder Gods that it does not really matter. 

    Album 13 then, The Allfather Awakens has arrived, and as the band prepare to set sail on another tour (three paltry UK dates is disappointing), it is time to explore what the Swedes have to offer this time round. 

    There is a god-awful elephant in the room which needs euthanising immediately. Upphaf is a stanza from the poem Völuspá, and the band’s first attempt at an acoustic offering. It is truly dreadful and highlights Hegg’s vocal limitations even more than their dreadful cover of Aerials many years ago.

    Upphaf is a stinker of a song, and a reminder that there are times when you should really stay in lane. It is sandwiched between the anthemic if ropey We Rule The Waves and Die With A War Cry, something that will no doubt get the muscle-clad fans punching the sky in homage.

    The latter is more distinctive Amon Amarth and the drumming is intense. Kudos to Jocke Wallgren, who hammers with anvils, not sticks!

    Opener Gjallarhorn is another epic tale and sure to be the song that starts each night on their tour. There is a massive riff that kicks things off with assured power, and although the initial singalong is a bit cheesy, once the song gets moving, it is one of the best on the album. A truly pounding track, Hegg is in his best form here as he roars his lyrics. 

    It had taken two sets of recording sessions to create The Allfather Awakens, stretching across Spring 2025 and then March 2026. You can hear the effort that has been poured into the album.

    “We worked on one song at a time and made each song as good as possible,” says guitarist Olavi Mikkonen. “Then we recorded one song at a time until each track was totally finished, drums, guitars, and vocals. Only then did we start on the next one.”

    I will be honest, there are times when Amon Amarth’s style blends into one. The songs have a similarity that is both expected and predictable. We Rule The Waves could sit on any of their last five or six albums. The bounce, the tempo and the melody are recycled from a million other songs.

    Perhaps that is part of their charm. Rehash the same song time and again, slight tweaks and then it’s another Viking anthem to sing along to. Tell me that you have not heard Raven God before and I think your honesty needs checking. 

    34 years since the band emerged from their Swedish home Tumba, it is unlikely that you would want them to change. In fact, the one effort to switch style is so bad that you demand they resort to thick riffs and bronchial rasps. 

    If you like Amon Amarth, then The Allfather Awakens will please you. Big thumping anthems include the chugging title track and the second song, Eight Legs Of Thunder, which will get the drinking horns raised high in the air. The artwork by Tom Thiel grabs the attention, another piece of quality from the band’s trusty artist. 

    It certainly was an album I was comfortable listening to several times in preparation for this review, even if my sinews overall remained unmoved and my urge to order it on vinyl was diminished.

    Amon Amarth do what Amon Amarth do. They have carved a Viking-sized niche in the Metal world and remain atop that spot. Little will change. And in a world of constant change, that may be okay.

    Amon Amarth release The Allfather Awakens on 2 October 2026 via Metal Blade Records. Available in a host of variants, visit lnk.to/TheAllfatherAwakens for more details.

    October

    09oct7:30 pmAmon Amarth, ManchesterO2 Apollo Event Organized ByAmon Amarth

    10oct7:30 pmAmon Amarth, LondonEventim Apollo Event Organized ByAmon Amarth

    11oct7:30 pmAmon Amarth, WolverhamptonCivic Hall Event Organized ByAmon Amarth

    Amon Amarth European Tour 2026 Poster
    Amon Amarth European Tour 2026 Poster
    The post Amon Amarth – The Allfather Awakens: Viking Metal Stays Firmly In Its Lane first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • FROZEN CROWN Cover ‘Iris’ By GOO GOO DOLLS

    The release of their new album imminent, FROZEN CROWN go extra catchy with a cover of Iris: originally by American alternative rock band Goo Goo Dolls, this 1998 track became an international superhit. FROZEN CROWN take its power and make it power metal, covering the entire spectrum from waltz-time ballad to high-speed drums and dual […]
  • BRYMIR Rework SCOOTER’s Track ‘How Much Is The Fish’

    In the midst of their darkest album to date, Finnish melodic death metallers BRYMIR show their fun side with an unexpected cover. Reworking Scooter’s eurodance classic How Much Is The Fish, the quartet delivers an additional nod to their stance against ocean pollution, Herald of Aegir, from the previous album, Voices In The Sky (2022). […]
  • “I’m Lost in These Visions” — Tomorrows Letters Turns Inner Sanctuary Into Solitary Confinement in Video for “Daydreaming”

    Daydreaming, lost and found
    Daydreaming, nowhere bound
    Falling deeper, falling down, it took me over
    And I can’t get out

    The life inside your head has certain advantages: better dialogue, revised endings, people who finally say what you needed to hear. Spend enough time there, though, and the ordinary world begins to feel like an interruption. Somewhere between rehearsing a happier life and forgetting to participate in your own, the imagination acquires a troubling degree of authority.

    Minsk-based artist Tomorrows Letters traces that retreat on *Daydreaming*, a troubled synthpop lullaby set against a stark, black-and-white DIY video. The solo project of Kiryl Karotki, Tomorrows Letters gives the song an especially compelling frame: music that draws you close as its singer searches for a way out.

    A deep snare and a looping bassline establish a measured, insistent rhythm, with a low metallic synth figure moving beneath high, resonant chimes. The bells lend the opening a fragile sweetness, soon complicated by Karotki’s voice. Drenched in reverb, his baritone carries regret and despondency with considerable poise, allowing dread to gather beneath the melody. Certain phrases soften toward a tender whisper without losing their weight.

    There is a strong affinity with Dave Gahan here, particularly the sensual unease of Depeche Mode around Violator and Songs of Faith and Devotion. High harmonies brush the edges of the lead vocal, while a gentle acoustic jangle and deeper string tones add movement beneath it. Karotki gives these familiar pleasures a distinct arrangement: the bass keeps circling, the bells retain their nursery-room delicacy, and the voice seems increasingly conscious of how far it has drifted from safety.

    “The track was originally titled ‘Maladaptive Daydreaming’, and that’s the core of it,” Karotki explains. “It’s about that state where your inner world becomes so consuming that it starts to replace reality. It’s about how escapism can turn into a trap.”

    The lyrics trace that loss of control through thoughts taking flight in swirling formations, gathering a momentum their owner cannot arrest. A second voice has apparently dismissed the habit as a way to cope; the singer answers by describing the grip it has taken on him. The chorus keeps returning to the same admission, “And I can’t get out.” By the outro, the private entertainment has exhausted itself: the curtain falls, the screen goes silent, and an empty chair remains. Even then, the imagined story keeps calling.

    Karotki built the recording around sampled bass guitar and bells, producing it on two vintage hardware samplers running from floppy disks. His intention was to keep the sound firmly within 1980s synthpop, with the equipment lending its own worn texture to the arrangement. He then mixed the track with Andrei Bobrovka, known for his work with Molchat Doma and Nürnberg, and completed the cover artwork himself.

    The self-filmed video extends Karotki’s affection for classic Depeche Mode imagery into stark black-and-white rural scenes. He sits blindfolded on a chair in an open field; elsewhere, he performs with a guitar or peers through a screen of leaves. Flocks of birds fold and turn across the sky, giving the opening lyric’s murmuration a visual counterpart. The field offers room in every direction, yet the blindfold makes that freedom inaccessible. Images of the chair picked out by light against darkness bring the song’s final sense of vacancy into view.

    Watch the video for Daydreaming below:

    Working with a hardware-only approach, Tomorrows Letters draws on New Romantic pop and minimal synth to examine isolation, compulsive creation, and the less hospitable corners of the self. On Up Against the Wall, Karotki cast self-judgment as a trial with no prospect of acquittal. Daydreaming approaches that inward confinement through the comforts that gradually become dependencies, extending his interest in the mind’s capacity to make captivity feel familiar.

    The single also includes a remix by Farforovyekoty, the side project of Nürnberg’s vocalist, which gives the song a more aggressive, post-punk treatment. Besides the original’s uneasy lullaby, it offers another route into Karotki’s fixation. The invitation is gentle enough; the difficulty comes when you try to leave.

    Listen to Daydreaming via Spotify and Apple Music, or order the single on Bandcamp.

    Follow Tomorrows Letters:

    Tomorrows Letters — Daydreaming artwork

    The post “I’m Lost in These Visions” — Tomorrows Letters Turns Inner Sanctuary Into Solitary Confinement in Video for “Daydreaming” appeared first on Post-Punk.com.

  • Album review: Imminence – Axis Mundi

    Posted on September 30th 2026, 10:00am

  • Interview: Imperial Teen

    With a career spanning decades of sharp indie pop and irrepressible hooks, Imperial Teen are back with new
  • Album Review: Frozen Crown – The Legend Of The Six Kings

    Album Review: Frozen Crown – The Legend Of The Six Kings Napalm Records – October 2nd, 2026 Reviewer – Jason Hopper I was fortunate to catch Frozen Crown just a few days ago on their first North American tour opening up for Kamelot and Visions of Atlantis. While it was a short seven song set, the […]

    The post Album Review: Frozen Crown – The Legend Of The Six Kings appeared first on ROCKPOSER DOT COM.

  • Micah Willis – Apr. 4

     

    Salt Lake City-born and LA-based artist Micah Willis brings a lifetime of musical mastery to his high-energy fusion of pop, funk, and hip-hop. Raised under the tutelage of his father—blues legend Kenny Neal—Willis cut his teeth performing everywhere from local choir stages to Carnegie Hall, sweeping four Downbeat Magazine awards before even finishing high school. Also recognized for his role on Disney’s Andi Mack, the acclaimed singer, songwriter, and multi-instrumentalist has shared stages and studios with heavyweights like Neon Trees, James Valentine (Maroon 5), Steve Smith (Journey), and Jeff Coffin (Dave Matthews Band).

    About his new song: “Apr. 4” is the first single from a blues album I’m currently finishing and represents a return to the music I grew up around. It’s also probably the most personal record I’ve released. The title comes from April 4, 2025, a turning point in my life during a period of substance addiction. I had reached a point where I realized the path I was on could cost me my life. Music became an important part of choosing a different direction, and writing “Apr. 4” ultimately felt like one of the final steps in processing and letting go of that period.”

    “Apr. 4” is quality from the first second, with lots of amazing guitar parts (what a sound) and a classy arrangement. I find it in between a few genres with a very cool ending, reminding me of Lenny Kravitz. It’s a quality blues song from every point of view. Give it a go by clicking on the Spotify player below and follow Micah Willis if you like what you hear. 

    https://www.instagram.com/officialmicahwillis
    https://www.tiktok.com/@micahwillis
    https://www.facebook.com/officialmicahwillis/
    https://x.com/iammicahwillis