Obicham’s Inner Bully dives into dark, industrial-pop territory with a sharp, high-impact edge. Driven by aggressive synths and a relentless beat, the track mirrors the intensity of internal conflict, turning self-doubt into something urgent and physical. The production is polished yet heavy, balancing club-ready energy with a brooding atmosphere. Vocals cut through with purpose, reinforcing the track’s confrontational tone without losing control.
Inner Bully stands out as a bold, high-energy piece that transforms psychological tension into a powerful, forward-moving sonic experience.
Ushering in a new wave of heavy metal, New Jersey hellraisers WHO ON EARTH have announced their forthcoming album, It Takes The Village. Set for release on May 8th, the band’s second full-length features 12 headbanging tracks of unfiltered, high-octane mayhem.
Commenting on the new album, bassist Pete Rizzi says:
“It Takes The Village is a true representation of the diversity of Who On Earth, demonstrating the lack of self-imposed boundaries in our music. Our brand-new material showcases our continued growth as songwriters, and we’ve also included a few reimagined versions of earlier tracks that feel fresh and more powerful than ever. After five years of building, this release is our way of saying, ‘This is Who On Earth.”
Coinciding with the announcement, WHO ON EARTH have unveiled their second single, “Any Other Way” – an anthemic rocker primed for the stage, arriving just ahead of the band’s upcoming U.S. tour with FOZZY.
Rizziadds:
“‘Any Other Way’ is a rearranged, re-recorded, remixed, and remastered version of ‘Black Swan’ from our debut album, Blame. It’s a song about accepting the events in our lives and the choices that brought us here. Regret has no place in that process, the past is the past. Would we do things differently? Of course. But maybe everything had to unfold exactly as it did. It’s about embracing where you are, learning from it, and ultimately saying, ‘I wouldn’t have it any other way.’”
The new single follows the previously released track “Vigilance,” which also appears on It Takes The Village.
1. Vigilance 2. Any Other Way 3. Shadows 4. Good Man Down 5. Closer 6. Too Close 7. Double or Nothing 8. Monster! 9. Oh, Set Me Free 10. We Don’t Belong Here 11. Ascension 12. The Unbeaten
Lineup: Coosh – Vocals Pete Rizzi – Bass Johnny James Barone – Guitar Jimmy Kocha – Guitar Howie Fallon – Drums
WHO ON EARTH Tour Dates w/FOZZY:
May 8 – Charlotte, NC – Amos’ Southend May 9 – Waynesboro, VA – The Foundry May 12 – Philadelphia, PA – Underground Arts May 13 – Harrisburg, PA – Capitall City Music Hall May 15 – St. Charles, IL – Arcada Theatre May 16 – Flint, MI – The Machine Shop
The Italian death metal band Fulci is known for their brutal sound as well as their fascination with horror movies. Their new EP combines these aspects, with the songs serving as a soundtrack to the short film “Risorsero dalla Tomba e Fu…L’Apocalisse! (“They Rose from the Tomb and It Was…The Apocalypse!”)”. Directed by Domenico Montixi,… Continue Reading →
Marc Broussard unveils two new singles, “Going Home” and “Trying To Do Right,” offering a deeper look into his anticipated forthcoming album, Chance Worth Taking – his first collection of all-original blues and soul songs, arriving April 17th on Joe Bonamassa’s KTBA Records.
The Double Single “I’m Going Home” / “Trying To Do Right”, out today, features the masterful fretwork of Joe Bonamassa, which perfectly complements Broussard’s signature vocal grit and emotive songwriting, further defining the renowned soul singer’s latest artistic chapter. Stream the new tracks HERE.
“I’m Going Home” builds on an infectious, steady groove and a lush, horn-infused arrangement driven by Bonamassa’s searing guitar riffs. The song takes flight on Broussard’s expressive vocals, creating a powerful, emphatic sound that mirrors the deep emotional stakes of his lyrics.
“‘I’m Going Home’ is one of those songs that speaks to my undying love for my beautiful wife,” Broussard explains. “I’d die without her. I wouldn’t even have the will to continue living. Joe played his butt off at every turn, which probably speaks to his love affair with the guitar.”
The slow-burning blues ballad “Trying To Do Right” opens with Bonamassa’s commanding guitar, setting a reflective tone. Broussard’s stirring vocals blend feeling and finesse, culminating in a confessional chorus. This delivery highlights the heartfelt sentiment pervading the song, while Bonamassa’s riveting guitar provides a rich, atmospheric weight throughout.
“‘Trying To Do Right’ came in a flurry,” Broussard recalls. “I had to harken back to the earliest days of my relationship with my wife. I wasn’t always a good boyfriend—in fact, I was a terrible one in those early days. The regret is somewhat softened by the knowledge that I can draw on those memories for inspiration in my writing. Thanks to Joe for providing the added emotional emphasis.”
Both “I’m Going Home” and “Trying To Do Right” were co-written by Broussard and Calvin Turner, with the recording beginning when Turner sent him the instrumentals. Broussard explains, “These songs were both part of the initial batch Calvin and I wrote, which came together over 3 days in a bit of a writing frenzy. Calvin came up with the hook and arrangement for ‘Right,’ and like a good hunting dog, once I’m onto a scent, I’m gonna find it. I was a madman who couldn’t resist the pull of the writer’s room from sunup to sundown.”
Chance Worth Taking, produced by blues heavyweights Joe Bonamassa and Josh Smith alongside Calvin Turner, is a stunning 14-track collection that includes the album’s dynamic lead singles, “Fever” / “No More”. The album reunites Broussard with Bonamassa, who takes the helm to contribute mesmerizing guitar solos on 10 tracks, including three songs co-written with Broussard.
This stellar creative circle is rounded out by Josh Smith, who features on and co-wrote four tracks, and Calvin Turner, who joined forces with Broussard to co-write 10 of the album’s original songs and contributes to the album’s lush string and horn arrangements. Chance Worth Taking is out April 17 on KTBA records.
Marc Broussard is currently on the European leg of his extensive international tour. His US shows will kick off in April, including festival appearances such as the Soundwave Beach Weekend on April 9 and his fifth performance at the New Orleans Jazz and Heritage Festival on May 1. Headlining performances include stops in Chattanooga, TN; Atlanta, GA; Birmingham, AL; two shows in Chicago, IL; Pittsburgh, PA; and NYC’s Brooklyn Bowl. The full list of dates is below.
2026 TOUR DATES Mar 20 – Paradiso – Amsterdam, NL*
Mar 21 – Hedon – Zwolle, NL*
Mar 22 – Doornroosje – Nijmegen, NL*
Mar 24 – Muziekgieterij – Maastricht, NL*
Mar 25 – La Maroquinerie – Paris, FR*
Mar 26 – The Blues Kitchen Manchester – Manchester, UK*+ Sold Out
Mar 27 – Islington Assembly Hall – London, UK*
*With Brian Mackey Support
U.S. SPRING DATES
Apr 9 – Soundwave Beach Weekend – Miramar Beach, FL + Sold Out
Apr 23 – The Dixie Carter Performing Arts Ctr – Huntington, TN*
Apr 24 – The Walker Theatre – Chattanooga, TN*
Apr 25 – Variety Playhouse – Atlanta, GA*
Apr 26 – Neighborhood Theatre – Charlotte, NC*
Apr 28 – Manchester Music Hall – Lexington, KY**
Apr 29 – Bijou Theatre – Knoxville, TN**
Apr 30 – Lyric Theatre – Birmingham, AL**
May 1 – New Orleans Jazz & Heritage Fest – New Orleans, LA
May 3 – Dosey Doe – The Woodlands, TX+
May 5 – Delmar Hall – St Louis, MO**
May 7 – Fitzgerald Theater – St Paul, MN*
May 8 – Space – Evanston, IL**
May 9 – Space – Evanston, IL**
May 10 – Hi-Fi Annex (Hi-Fi Indy) – Indianapolis, IN**
May 12 – Thunderbird Cafe – Pittsburgh, PA **
May 13 – The Birchmere – Alexandria, VA **
May 14 – Ardmore Music Hall – Ardmore, PA**
May 15 – Brooklyn Bowl – Brooklyn, NY**
May 16 – Narrows Center For The Arts – Fall River, MA**
May 30 – Bear Shadow Festival – Highlands, NC
*With Seth Walker Support
** With Sway Wild Support
+ With Kristen Kelly Support
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.
