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Eliza Neals is busy these days, creating some wall-shaking thunder with her brand-new release, Thunder In The House. Hailing from the Detroit, Michigan area, she was exposed to a wealth of great music. She was encouraged to take piano lessons and sang with her sisters early in her musical journey. She also graduated from Wayne State University in Detroit with a Bachelor of Arts degree.

Neals toured Europe with the school’s chorale group, but eventually returned to Detroit, where the blues soon came knocking at her door. There, she began singing at popular clubs, working to fine-tune her playing and vocal delivery. A chance meeting with Motown great Barrett Strong sparked a friendship that led Neals to pursue a career in blues, soul, and R&B music. Since then, she has not looked back, recording thirteen studio albums and earning numerous award nominations and wins.

I always like to make sure that I credit great musicianship, and Thunder In The House is supported by excellent players, including Eliza Neals herself. There are nine well-crafted tracks, and Neals has either written or co-written each of them. I love the way some of the vocals have been layered on this recording. Listening with headphones really allows you to hear these vocals as they should be heard. They are tasteful and enjoyable.

“Speedy Beady” kicks off the album with a lighthearted song about a red rooster that is “waking me up at the crack of dawn.” Neals also sings about old Speedy Beady sleeping with the girl chickens when he does not even know their names. There is some nice guitar work on this tune to complement the great storyline about this promiscuous rooster. You can also find a video of “Speedy Beady” on YouTube.

“Love Will” features strong guitar work throughout and is another track available on YouTube. Neals sings, “So many people losing their faith. We need love to brighten up their day.” I especially like the ending when she repeats, “love will brighten up their day.” Love is one thing that costs so little and means so much. We could all work harder at sharing more of it these days.

On “Wicked Heart,” Eliza Neals delivers a powerful vocal performance. “Wicked heart, tearing me apart; the Devil is your middle name.” This song also features some fiery guitar work that adds to its intensity.

The final track on Thunder In The House is the title track, “Thunder In The House,” and it is a strong closer. There is some exceptional slide guitar work throughout. “Thunder and lightning, so very frightening; thunder in the house.” This slower number has a dark, moody feel. “Be quiet as a mouse,” Neals sings, hinting at lingering memories that cannot be forgotten.

The musicianship, vocals, and songwriting across this recording are consistently solid. Neals’ voice carries a gravelly, coarse texture that makes everything she sings sound bluesy, soulful, and powerful.

Thunder In The House is a recording that listeners will likely enjoy revisiting time and again. As a fan of live music, both in person and recorded, I have watched Eliza Neals perform in available videos, and that is where she truly shines brightest.

Mick Jagger has reportedly said this about Neals: “a voice I soon won’t forget,” and I agree with that statement. She has built an impressive list of musical collaborations, having worked with artists such as Joe Louis Walker, King Solomon Hicks, Peter Keys, Derek St. Holmes, Popa Chubby, Tony Joe White, Mike Zito, Tommy Castro, Albert Castiglia, and Walter Trout.

If you get the opportunity, be sure to catch Eliza Neals live and give Thunder In The House a listen. You will be glad you did.

The Review: 9/10

Can’t Miss Tracks

– Speedy Beady
– Love Will
– Wicked Heart
– Thunder In The House

The Big Hit

– Thunder In The House

Buy the album: Eliza Neals on Bandcamp

The post Eliza Neals: Thunder In The House Review appeared first on Blues Rock Review.

Regina by The Swifties carries that rough edged charm of lo fi punk, where imperfections feel intentional and alive. The instrumental unfolds with a scrappy, instinct driven energy, balancing grit with a strangely melodic undercurrent. There is a rawness in the way the elements collide, like a demo that refuses to be polished, holding onto its identity instead. Beneath the noise, a subtle sense of structure keeps everything from falling apart.

It feels restless, a little chaotic, but honest to the core, capturing that DIY spirit where feeling always comes before finesse.

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Decay by Signal-23 moves like a slow burning current, pulling you under with its weight rather than force. The sub bass does not just hit, it rolls in waves, deep and immersive, wrapping around the tight, mechanical pulse of the drums. There is a constant tension simmering beneath the surface, as moody textures drift in and out like distant signals trying to break through.

It feels like a more sci fi leaning take on the pioneering Boards of Canada, colder and more controlled. A dark, hypnotic piece that lingers in the body as much as in the mind.

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The Laws of Life finds Night Wolf and Lois Powell operating in a space where subtlety does the heavy lifting. It unfolds like a half remembered thought, drifting between calm and quiet unease, with Powell’s fragile delivery adding a deeply human touch. The production feels patient and intentional, layering soft textures that never overwhelm but constantly pull you inward. There is something quietly haunting in the way it builds, especially as the closing shift introduces a darker pulse.

It feels reflective, almost like self dialogue set to sound, intimate, absorbing, and gently disarming.

u wanna have it by MUANH drifts in with a hazy, intimate glow, wrapping bedroom pop softness around a quietly conflicted core. Built on gentle textures and dreamy synth layers, the track feels comforting at first, like a warm embrace, yet there is an underlying tension that slowly reveals itself through the vocals. The contrast between tenderness and emotional unease gives it depth, as desire and distance blur into one another.

MUANH handles restraint with precision, allowing subtle details to speak louder than excess. It is a delicate, late night reflection that lingers in feeling rather than resolution.

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They played a five-song set during their time at Audiotree.

The post Great American Ghost’s In-Studio ‘Audiotree Live’ Session Released appeared first on Theprp.com.

Tokyo’s Sex Virgin Killer has always understood that style is never merely the shimmer of light that catches on a surface in the dark. It is part of the spell, a way of setting noise, image, memory, and desire into motion until they begin circling one another in the same room, suspended between what is shown and what is withheld. That instinct shapes ANGEL, the band’s new album, issued in two distinct editions: one in Japan through lilii sound loom, and one internationally via Young & Cold Records. The dual release feels fitting, casting the album as a kind of double image, the same body caught in separate mirrors, each one returning a slightly altered truth.

That feels appropriate for a group with roots stretching back to 2006, now moving with renewed purpose and a sharpened sense of identity. You can hear it in the severe – and often bizarre – elegance of the arrangements. ANGEL advances on cold minor-key patterns and guitars drawn into rigid, slantwise figures, then haloed by reverb that gives every phrase a sense of distance and occasion. The music has the poise of classic gothic rock, but slyly shifts its dress code. One minute, it recalls the disciplined chill of Xmal Deutschland or Malaria!; the next, it opens into the romantic frost parrell to Drab Majesty, the motorik gloom popularized by Molchat Doma, or the taut, chiming ache of The Smiths. Elsewhere, there are hints of Propaganda’s aristocratic drama, Mephisto Walz’s nocturnal poise, and even a touch of Lene Lovich’s sly, eccentric art-pop voltage.

Aisha and Lilii Mar give the material its unstable glamour. Their voices turn the songs into scenes, into situations, into episodes of intensity where tone carries as much force as language. There is a rich, dramatic reach in the singing. Beneath them, Lilii Mar’s guitars, bass, and synthesizers build a world of gleaming surfaces and hidden stress, while Hammer’s drums and electronics keep tightening and releasing the frame. Even the more dance-minded passages retain a ceremonial edge. A snare snaps forward, guitars gather in long sighing drifts, and suddenly the track feels like a transmission from a nightclub at the end of the world, equal parts romance and ruin.

The mixing by Yui Kimijima gives the album shape and sheen without sanding away its strangeness, and Soichiro Nakamura’s mastering preserves that balance between clarity and unease. Sex Virgin Killer moves through darkwave, post-punk, cold wave, and neo-psychedelic textures with assurance, turning each style into part of a larger design. These songs feel adorned, severe, wounded, and strangely luxurious, like black lace pinned to steel — strikingly beautiful.

The international Version of ANGEL is out now via Young & Cold Records. Order here

Listen to the Japanese version of ANGEL below, and order it here

Follow Lilii Mar:

• Instagram 
• Bandcamp

Follow Sex Virgin Killer:

• Bandcamp
• Instagram
• YouTube
• Store

The post Tokyo Darkwavers Sex Virgin Killer Release New Album “Angel” in Japanese and International Versions appeared first on Post-Punk.com.

Turnstile will be closing out night #1.

The post Turnstile & Death Cab For Cutie To Headline 2026 ‘Bumbershoot’ Festival appeared first on Theprp.com.

Real Little Wild by 2AP unfolds like a cinematic opening scene, pulling the listener into its world with immediate emotional clarity. Blending indie rock drive with melodic finesse, the track builds a vivid atmosphere where raw instinct meets careful composition. There is a natural, almost organic flow to the arrangement, as guitars swell and recede with purpose, mirroring the song’s emotional arc. Inspired by a deeply personal moment, it carries an authentic warmth that resonates throughout.

It feels expansive yet grounded, capturing a sense of freedom, movement, and quiet intensity that lingers well beyond the first listen.

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U.S. Army musical outreach band As You Were have also been added.

The post Chevelle, Pop Evil, Etc. Added To 2026 ‘Sonic Temple’ As Tom Morello, The Offspring & Crown The Empire Exit appeared first on Theprp.com.