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  • Pick Up Goliath La Sombra Review

    Pick Up Goliath La Sombra Review

    The song begins with a riff and distorted screams. This immediately creates a chaotic and intense atmosphere. It draws listeners into a deep, decadent, and sinister universe. Next, the full sound hits like a black tsunami, overwhelming in its intensity. This musical project is visionary, blending various genres seamlessly. There are moments of raw violence, progressive elements, melodic passages, and even a hint of rap in the bridge. Despite these diverse elements, everything comes together in a coherent narrative.

    Pick Up Goliath La Sombra

    This song feels more like a sonic journey than a simple track. It consists of chapters that transport the listener through different realms. The artist is visionary, experimenting and crafting an avant-garde universe that defies easy categorization. The compositional style is rich, brilliant, and unique.

    The various influences present in the song showcase the artist’s ability to move fluidly between genres. From the aggressive moments that can be described as violent to the intricate progressive sections, there is a strong contrast that holds the listener’s attention firmly. The melodic passages bring relief, balancing the intensity without losing the momentum.

    La Sombra – Sound and Atmosphere

    You can feel a keen sense of narrative development, with each section resonating with purpose. The transition from one segment to another feels deliberate and well-crafted. The artist’s ability to navigate through different musical landscapes showcases their versatility not only as a musician but also as a storyteller.

    The bridge introduces a rhythmic shift, incorporating elements of rap that further diversify the arrangement. This point in the track acts as a pivot, offering a fresh perspective that invites curiosity. Here, the artist manages to integrate a contrasting style while keeping the overall theme intact.

    The song thrives on its unpredictability. Just when you think you have a grasp on where it’s going, it takes an unexpected turn, confounding expectations in the best possible way. This dynamic approach reinforces the idea of a multidimensional experience, where each listen reveals more depth and detail.

    La Sombra – Performance and Production

    “La Sombra” becomes an invitation to explore further. The track beckons with each listen, rewarding those willing to delve deep. The sheer audacity of the choices made in sound production adds layers that would require multiple listens to fully appreciate.

    There’s a raw honesty in the execution, making it feel intimate despite its vastness. The juxtaposition of the anthemic with the avant-garde creates a unique positioning that is difficult to reproduce. The artist knows how to harness the power of sound to evoke emotions. The intention behind each moment in the song is palpable.

    This single serves as evidence of the potential within experimental music today. It underscores the idea that music can be an art form and a revolutionary expression. The listener is left to ponder the themes and emotions evoked long after the track concludes.

    In such a crowded musical landscape, Pick Up Goliath’s latest offering stands out markedly. It captures attention through its refusal to conform to conventional structures. This single is a fascinating exploration of sound and meaning. Each listen promises to reveal something new and unexpected.

    Explore more:
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    Find Pick Up Goliath here:
    Spotify | Instagram

    The post Pick Up Goliath La Sombra Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • LITOSTH set release date for new PERSONAL RECORDS album, reveal first track

    On July 24th internationally, Personal Records is proud to present Litosth‘s highly anticipated fourth album, Dreaming, on CD format. Some records arrive as answers. Dreaming is not one of them. The fourth album from Litosth—the duo formed by multi-instrumentalist Maicon Ristow and lyricist Wendel Siota—offers no comfort, no resolution, no redemption. What it offers is something more disturbing and necessary: the complete […]

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  • Avatar announce autumn 2026 UK tour dates

    Swedish theatrical metal masters Avatar have officially announced a comprehensive UK headline run for late autumn 2026. Dubbed the “Don’t Go In The Forest Tour,” the multi-city stretch follows a massive summer that sees the heavy metal outfit supporting Metallica at London Stadium, as well as conquering major European festival stages and an extensive tour … Continue reading Avatar announce autumn 2026 UK tour dates

  • XAVI REIJA ELECTRIC QUINTET – Nu Breed

    XAVI REIJA ELECTRIC QUINTET – Nu Breed

    MoonJune 2026 Harnessing fantastic melodies, Spanish master of adventurous beats corrals friends for a feast of sonic fluidity. To have a proper outfit to work with must have been Xavi Reija’s objective for some time, but the stellar team the … Continue reading →

    The post XAVI REIJA ELECTRIC QUINTET – Nu Breed appeared first on DMME.net.

  • Tabitha Zu Heard It Before Review

    Tabitha Zu Heard It Before Review

    This song carries the story of a band that was already known in the 90s, now presenting their music to the modern world. Originally made in 1991, it reclaims relevance in the digital age. What stands out about this track is its ability to evoke one of the best musical periods in history—the rebellious 90s—where music felt instinctive and edged into psychedelic nostalgia.

    Tabitha Zu Heard It Before

    In this song, one can detect hints of familiar influences, particularly reminiscent of Mazzy Star and Hole. However, this band seemed to have anticipated the trends of their time, perhaps inspiring those very artists. The captivating voice of the singer, Melanie Garside, known as Maple Bee, possesses an enchanting quality akin to a melancholy siren. Her vocals draw listeners in, creating an almost hypnotic experience.

    The instrumentation fuels this track’s vibrancy. John Hamilton on drums provides an unwavering energy throughout the song. His rhythmic vigor supports the compelling arrangements seamlessly. On bass, Phil Stevenson lays down a solid foundation, ensuring that the rhythm section remains robust. The synergy among the musicians enhances the overall impact of the song, making it a truly remarkable piece.

    Heard It Before – Sound and Atmosphere

    The accompanying music video enriches the listening experience, showcasing glimpses of the band’s past. It features clips from shows and concert posters that evoke a sense of nostalgia. This visual storytelling resonates well with the music, creating an immersive experience for viewers. Melanie Garside’s appearance in the video brings to mind a resemblance to Linda Perry, adding another layer of interesting character to the presentation.

    This song captures a unique essence. It reflects a return that many long for, blending modern sensibilities with a rich musical heritage. The combination of the singers’ distinctive voice and the band’s performance transports listeners back to a time that many remember fondly. It’s a revival that merges past and present, making it relevant for today’s audience.

    Listeners who appreciate the sonic textures of the early 90s will likely find joy in this track. This is a commendable return for the band, and it deserves to be shared broadly.

    This is more than just a song; it is a heartfelt offering from a band with a storied past. Music lovers should take notice and embrace this revival. A genuinely beautiful song awaits them within this exciting musical return.

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    Find Tabitha Zu here:
    Spotify | Instagram

    For fans of:

    Bands: Mazzy Star • Hole

    The post Tabitha Zu Heard It Before Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Dimmu Borgir’s “As Seen In The Unseen” Music Video Emerges Alongside Their New Album “Grand Serpent Rising”

    Their first new album in 8 years.

    The post Dimmu Borgir’s “As Seen In The Unseen” Music Video Emerges Alongside Their New Album “Grand Serpent Rising” appeared first on Theprp.com.

  • Ten Punk Bands Essential To Me: The 2000s


    I always love a good sequel. My friend Jay Castro and I tandem–posted a while back on the ten punk bands from the 1990s that are most essential to us. So we decided the obvious next step was to write up similar lists for the 2000s. If we were trying to explain to an extraterrestrial or someone who wasn’t yet born in the 2000s why we love the punk music of that decade so much, which bands would we mention? 

    This was an interesting project for me to work on. For me, the ’90s were my “heyday” for punk rock. That was when I discovered punk music, started doing zines, and was going to shows all the time. I have a certain romantic attachment to the punk music of the ’90s that I don’t quite have with later time periods. That said, I was still writing about punk music with great enthusiasm for most of the 2000s. I think what defined 2000s punk for me were the changes in the way I followed it. In the ’90s, it was all about Maximumrocknroll and other print publications, record stores, mail order catalogs, tape trading with pen pals, and seeing bands at live shows. In the 2000s, the internet took over. Webzines and message boards were all the rage, and it became quicker and easier to interact with more people who liked the same stuff as me. By the end of the decade, YouTube, social media, and downloading & streaming were coming on strong. I had become more reclusive in my personal life but was more connected than ever to a worldwide community of punk rock fandom. 

    I shock myself sometimes when I do the math and realize that the music of the 2000s is now anywhere from 17 to 26 years old. That was how old ’60s music (which seemed ancient) was when I was first getting into punk! So as I look back on the punk music of the 2000s, I can’t assume that all of you remember this stuff or are even aware of it. But I imagine a lot you will be very familiar with all these bands. 

    I reiterate: this is not my list of the “greatest” or “top” punk bands of the 2000s. It’s just the ten bands that are most essential to me on a personal level — the ones I keep going back to, year after year, decade after decade. This was a difficult list to limit to ten bands. I left off plenty of bands that I acknowledge were massively influential (Marked Men, The Briefs, Jay Reatard, The Spits, just to name a few). I decided not to recycle any bands from my ’90s list, so that excluded the likes of the Dimestore Haloes and The Prostitutes. I left off a few really great one-album-and-done bands like The Busy Signals, The Lids, and The Minds. So this easily could have been a top 25. I wanted to select a list that would reflect all the different kinds of punk music I was listening to in the 2000s, and that’s exactly what I ended up doing. 

    Here we go, then: in no particular order, the ten 2000s punk bands that are the most essential to me! 

    The Ergs! 
    If you’ve been following me for the past 25 years, you are probably tired of me talking about The Ergs! But that’s one hill I’m willing to die on. In the 2000s, The Ergs! were more than just a great pop-punk band. Their genius was being the embodiment of music geekdom and geekdom in general. If Egghead. were their big brothers and Boris the Sprinkler their uncles, The Ergs! took that whole dork punk thing and ran with it. They never got proper credit for the variety and depth of their influences. You could write a 600-page book just on the cultural references in their lyrics. dorkrockcorkrod was a genre-defining album of its time, and it has only gotten better with age. And why does nobody ever talk about Upstairs Downstairs? Somehow this band amassed enough non-album tracks to fill not one but two odds and sods compilations! The Ergs! were the kind of band that would do fantastically ridiculous things like back their song “Blue” with a cover of Nirvana’s “Blew” and turn a Pennsylvania geography joke into a love song. How could I not love a band like that?

    The Exploding Hearts
    The presence of The Exploding Hearts on this list will surprise no one. This is the first band that a lot of people would think of when the topic of 2000s punk came up. The mere fact that we now talk of “punk powerpop” or “powerpop punk” as a genre onto itself tells you what a game changer this band was. Guitar Romantic arrived with considerable buzz behind it and lived up to all of it — it was an instant classic on arrival, and it still shapes the musical universe that you and I now inhabit. It’s record I’ll never tire of. And The “(Making) Teenage Faces” 7″ was a classic in its own right. RIP Adam, Matt, Jeremy, and Louie.

    The Bobbyteens 
    I’ve been waiting a long time for someone to bring The Bobbyteens’ catalog into the digital realm. This is a band that needs to be heard. The best we can do now are a few tracks on YouTube. The Bobbyteens came out of the Bay Area garage punk/budget trash scene in the later ’90s but added their own secret sauce: a little power pop, a dash of ’70s punk, a splash of early rock ‘n’ roll, and a big heap of ’60s girl group energy. Tina Lucchesi owned the 2000s. Tina and the Total Babes, Deadly Weapons, and Top Ten were all absolutely awesome. But The Bobbyteens will always have a special place in my heart. Not So Sweet from 2000 is well worth tracking down if you can find it. The world barely seems to remember 2004’s Cruisin’ For A Bruisin’, and that’s a crying shame. Somebody please reissue this stuff!

    Tranzmitors
    In the 2000s, I was thrilled to see many bands blur the lines between power pop and punk rock. Few did that better than Vancouver’s Tranzmitors, whose run of greatness throughout the latter years of the 2000s is still not talked about nearly enough. Their self-titled album was the best 1979 punk-pop album to come out in the 2000s. If I can convince Jay that a sequel to this sequel is in order, Jeffrey McCloy will get his flowers a second time!

    The Dents  
    I am still baffled as to why The Dents weren’t more acclaimed and recognized outside of their native Boston. Co-fronted by Michelle Paulhus and Jen D’Angora, The Dents were pretty much the quintessential Boston punk rock band. They had it all: hooky tunes, killer harmonies, amazing lyrics, and boundless rock ‘n’ roll energy. 2005’s Time for Biting is an album I’d put up against almost any 2000s punk rock album. Fun fact: The Dents were on Abbey Lounge Records, a label co-run by the man himself, Malibu Lou Mansdorf!

    The Kidnappers
    Formed from the ashes of the Highschool Rockers, Germany’s The Kidnappers were one of the bands leading a youthful new wave of garage punk in the early 2000s. Ransom Notes & Telephone Calls infused a ’70s punk influence into the band’s lo-fi rock ‘n’ roll approach, and it was one of the albums that put Alien Snatch Records on the map. And by the time 2006’s Neon Signs came out, the twins Chris and Philipp had seamlessly integrated a ’70s power pop influence into their sound. “Spanish Girls” was one of the best singles released by anyone in the 2000s. Another change in style led to another new band name, so now these guys are going strong as the punk rock band Küken.

    Spazzys
    When it comes to truly perfect pop-punk albums, Aloha! Go Bananas by Melbourne’s Spazzys is in that category. Of course everyone knows the greatest Ramones knock-off ever recorded, “Paco Doesn’t Love Me.” But how about “The Sunshine Drive”? “Action City”? “Hey Hey Baby”? “Steal a Kiss”? I could go on and on! It was remarkable for a band this young to arrive so fully formed with a bag of influences that included not just the Ramones but also ’60s pop and girl groups, power pop, and ’90s pop-punk. This is probably an all-time top 20 favorite album for me. Their later releases (some stretching into the 2010s) were awesome as well.

    The Unlovables 
    When I first heard The Unlovables’ demo (on a comp tape Lew Houston made for me), I was so floored that I almost drove my car off the road. It was an instant “Where has this band been all my life?” moment, and I was excited when The Punk Rock Club EP was released shortly thereafter. By the time Crush*Boyfriend*Heartbreak came out in 2005, Hallie Bulleit and company had refined their craft to the point where they were able to deliver one of the greatest pop-punk albums ever made. 2007’s Heartsickle was pretty great in its own right. If the secret recipe for pop-punk is to be ability to write fun, upbeat-sounding songs about devastating emotional experiences, no band embodied that more than The Unlovables.

    Zodiac Killers 
    Sometimes the Zodiac Killers get overlooked when people talk about Greg Lowery’s musical legacy. Everyone brings up Supercharger, The Rip Offs, and The Infections. The Control Freaks get plenty of love. But the Zodiac Killers rivaled all those bands — especially on their 2000s LPs. When it comes to (as Lowery calls it) “fast, catchy, stupid punk rock,” albums like Society’s Offenders and Radiation Beach are as good as it gets. Those final years of Rip Off Records are very underrated.

    Smogtown
    Having first emerged in the late ’90s with some face-melting singles on Hostage Records, Orange County’s Smogtown really hit its stride in the 2000s with the dark vision and blistering melodic beach punk sound of albums like Führers Of The New Wave and Domesticviolenceland. When you talk about definitive, legendary Southern California punk bands, Smogtown takes a back seat to no one.

    And that’s that! 10 punk bands from the 2000s barely scratch the surface of what was going on in those days, so I encourage you to drop your own lists in the comments. Be sure to check out Jay’s list over at Shock Treatment! 

  • Veeze Releases New Surprise Mixtape Y’all Won

    The twitchy, idiosyncratic Detroit rap weirdo Veeze became a cult hero on the strength of his debut album Ganger, which Stereogum correspondent Peter A. Berry picked as 2023’s best rap album. Since then, Veeze has released a steady string of one-off singles like “Signed A Napkin,” “L.O.A.T.,” and the Lil Yachty collab “Can’t Be Crete…

    The post Veeze Releases New Surprise Mixtape <em>Y’all Won</em> appeared first on Stereogum.

  • The Amplifier Heads – "A Song Called Sha La La"

    Given the world domination recently achieved by The Peppermint Kicks, I got distracted from the fact that Sal Baglio hadn’t released any new songs from The Amplifier Heads since Rectifier came out at the end of 2022. Well, that situation has been, uh, rectified! “A Song Called Sha La La” is the brand-new single from The Amplifier Heads, and it’s a red-hot, super-duper, intergalactic smash! Writing a great rock ‘n’ roll song about the dearth of great rock ‘n’ roll songs now being written is just about the most meta thing ever. But if you’re going to do a song like this, this is how you do it! “A Song Called Sha La La” might be the best Amplifier Heads song ever, so you know that Sal is bringing it with all he’s got. The whole spirit of the song is nicely summed up by lyrics like these:

    Somebody write a song that we can sing
    Get up and shout and not worry ‘bout who’s listening
    Somebody write a few bars
    That we can turn up loud in our cars
    Somebody write a song that goes
    Sha La La

    Amen! With this song, The Amplifier Heads are fully in 1960s classic radio hit form. Just press play, and you’ve got pure pop majesty for three-and-a-half glorious minutes. For sure, this is a song you can sing, and it will quickly have you up and shouting. And of course you will want to turn it up loud in your car as you rock out with full vigor and care not what a fool you look like to all those smug observers who live sad lives devoid of the joy that rock ‘n’ roll brings. Also on board are rhythm players Kevin “King” Rapillo and Brad Hallen along with some special guest stars: Jeff “G-Man” Giacomelli on tenor sax and Carlos Menenzes Jr, Matthew Naeger, and Henley Douglas Jr from the mighty Jambalaya Horns! 

    What do you do when you long for someone to write a song called “Sha La La”? You write a song called “A Song Called Sha La La,” and it becomes a self-fulfilling prophecy! Glenn Robinson’s cover art is so on-point that I briefly thought it was a photo of an actual 45 record! And that gives you the vibe this song is going for. If you grew up plugging coins into jukeboxes and amassing stacks of vinyl singles in your bedroom, this will be your jam. Look for Super 8, the new Amplifier Heads album, on Rum Bar Records this summer!

  • Civic Mimic – self-titled


    How about I throw a little more love to that state next door? New Jersey–based Civic Mimic, formerly Jeff Hersch’s rather prolific pandemic solo project, has made its full-band debut on an excellent new self-titled EP. Hersch (whom you might recognize from Casual & Glazer) is joined by Josh Stavola, Jeff Schroeck, and Phil Connor in this new iteration of Civic Mimic. Style-wise, it’s what you might expect: poppy, punky indie rock with just the right amount of noise and hooks a plenty. This EP is short and sweet with three songs clocking in at a total of six-and-a-half minutes. If you grew up on early ’90s college radio, this band will be speaking your language. I appreciate that the lyrics are clever and interesting in a way that’s very open to interpretation but not at all pretentious. If there’s really such a thing as a “New Jersey indie rock” sound (and I think there surely is), this record hits it bang-on. As a singer and songwriter, Hersch is likeable and endearingly offbeat. And Schroeck is such a unique and inventive player — an asset to any band he’s in. I’m going back to all the earlier EPs and really liking what I’m hearing, but I’m definitely pleased that Civic Mimic has morphed a proper band. More please!