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When Rivers Meet have released a new single, “Caught In The Middle,” ahead of the release of their upcoming album Rhythm Rust & Static, which is now scheduled to arrive June 19.

The band also announced that the album’s release date was pushed back slightly due to vinyl manufacturing delays.

“We’re sorry for the delay and truly appreciate everyone’s patience and support, we promise it’ll be worth the wait,” the band said.

“Caught In The Middle” is the third single released from Rhythm Rust & Static and follows previously released tracks “The Script” and “The Tide Is Turning.”

“Caught In The Middle is about being pulled between knowing you should walk away from something and still feeling drawn back to it,” explained Grace Bond.

“It sits right in that tension between your head and your heart. Part of you knows the danger but another part keeps moving towards it anyway.

“The song leans into that restless feeling of being stuck between two choices and not quite knowing which way you’re going to fall.

“Caught In The Middle asks the uncomfortable questions and debates unsound judgement, against the backdrop of another biting, barbed wire riff.”

Aaron Bond added, “This one is really about that feeling of being pulled in two directions. You tell yourself you’re going to walk away but somehow you end up back there again.

“I think everyone has experienced that moment when what you know is good for you and what you feel are completely different things.

“We wanted the music to mirror that tension. The groove keeps pulling you back in, almost like you can’t quite escape it. It feels dark and hypnotic at the same time.”

The duo said the upcoming album takes a different direction from 2025’s Addicted To You.

“With our previous album, Addicted To You, we leaned into a much bigger, more produced sound,” explained Grace.

“When we started thinking about the next album, though, we felt drawn to something a little more raw and intimate.”

Aaron added, “When Rivers Meet has never followed the music industry rulebook. We’re proud to go our own way and our new album is a manifesto for doing just that.”

The duo have won three consecutive Band Of The Year honors at the UK Blues Awards and continue to build on the momentum from 2025’s Addicted To You, which reached the top four on the UK albums chart.

2026 Rhythm Rust & Static Tour Dates

July 23 – Colchester, UK – Arts Centre
July 24 – Tunbridge Wells, UK – Forum
August 7 – Barnard Castle, UK – The Witham
August 8 – Newcastle, UK – The Cluny 2
August 21 – Cardiff, UK – Acapela
August 22 – Guildford, UK – The Boileroom
September 3 – Huddersfield, UK – The Parish
September 4 – Galashiels, UK – MacArts
September 5 – Edinburgh, UK – Voodoo Rooms
September 6 – Aberdeen, UK – Lemon Tree
September 17 – Bristol, UK – The Fleece
September 18 – Norwich, UK – Norwich Arts Centre
October 1 – Newbury, UK – Arlington Arts
October 2 – Northampton, UK – Black Prince

The post When Rivers Meet release “Caught in the Middle” appeared first on Blues Rock Review.

The Motor City Madman is on pace to double the number of shows he played in 2025. Continue reading…

Looking back over the last few years, or rather decades, Dimmu Borgir have not released an enormous amount of music, and it seems as though the band has found its groove with an eight-year release pattern. Fans had to wait a long time for the latest album, “Eonian”, and now the band has taken the… Continue Reading →

You speak beautiful lies,
A fool cowers behind eyes
Your skin covers a mistake
My love gives, Yours just takes! 

On the seductive new dark dance LP THROB, Bustié, Angelika Padilla’s (aka Pogo Pope) project turns club music into a sensual pressure valve. The album, delayed for six years and dedicated to Padilla’s late mother, arrives with grief in plain view and its body already moving. Padilla calls the project “Anarcho Body Music,” a phrase that lands with unusual precision: the record gathers freestyle, electro, UK punk, acid, disco, and new jack swing into songs built for dancing through fury, devotion, sex, and loss. “This is music for the minorities, this is Anarcho Body Music.” The sentence sounds like a mission, yet THROB is too bruised, lusty, funny, and vengeful to settle into mere manifesto. It keeps slipping from doctrine into appetite.

Perimeters of Love opens the album as a vow made in a room where sex and salvation share the same bed. The language is florid in the old Catholic-goth way, full of flame, moon, death, and reunion, but the track’s romance gains force from Padilla’s treatment of devotion as an act of mutual possession. The body becomes a chapel with a bass line; love becomes a pact with teeth. By the time Negative Approach hits, the vow has soured. The lover who once held cosmic value becomes a taker, a drain, a slick executor of false tenderness. Padilla writes breakup music with the heat turned toward judgment. Self-respect here has a blunt rhythm; escape arrives as overdue bookkeeping, the settling of an account.

Cruel Intentions makes desire grand and carnivorous. Padilla stages sex as rescue, threat, and collision, with bodies pressed together while inner beasts come alive. The song’s drama comes from scale: a kiss can save a life or end one, romance can grow into war, and pleasure can carry the charge of a blade held close to skin.

Smile Now, Cry Later lands with the rude snap of an old LA backyard party, drawing on freestyle drama, Miami booty-bass lift, and electro bite. Revenge often shrinks singers; here it enlarges the room. The track works because its cruelty has motion, and its motion has communal memory.

Miami pulls the album into a more wounded register. It name-checks the phrase “Anxious avoidant,” and Padilla treats the diagnosis as a polished excuse. The love song becomes a scene of abandonment by degrees: rings without vows, water rising, a partner mistaking explanation for absolution. The writing is plain where plainness hurts most. Bruise Control turns damage management into propulsion. Padilla understands the afterlife of a bad bond: the way one learns to bandage, perform health, recite morality, and keep moving through ruin. The song has a grim patience, as though healing were a machine task assigned to someone already exhausted. Its title is almost comic, which makes the pain sharper.

W.I.L.T. (Will Infatuation Last Tonight) gives the album one of its best jokes and one of its ugliest graves. Infatuation wilts into betrayal; a kiss travels where it should never have gone; roses, serpents, salt, and fire gather around a love that has been stripped of grace. Padilla’s gift, here and elsewhere, is her ability to make private humiliation feel theatrical without flattening its ache.

Lady of Dread is the album’s public nightmare. Truth is falsified, bodies pile up, and a fearsome feminine power presides over state violence, control, and confession. The beat takes Hi-NRG disco through dark electro pressure, giving the song a grim sort of civic theatre. Bubastis gives the album’s most grotesque tenderness. Obsession reaches the point of spoilage; desire crawls, then curdles; the beloved prince becomes compost. Few artists write rotting romance with such bodily precision, fewer still can make it feel ready for a crowded floor.

Across THROB, Padilla treats the dance track as a survival technology: a drum pattern can hold a grudge, a hook can shelter grief, a synth line can flirt with violence, and a chorus can turn pain into shared stamina. The record’s pleasures are blunt without being crude, theatrical without feeling overstuffed, political without becoming flaccid. Bustié has made an album about bodies under pressure, bodies in love, bodies in panic, bodies under law, bodies at the mercy of memory – and then gives those bodies somewhere to go. For a record born from delay, loss, and rage, THROB moves with enviable clarity: straight to the hips, straight to the wound, straight to the door of whatever system still expects quiet.

THROB is out now via Psychic Eye. Listen below and order the album here.

Bustie has shared stages with artists such as Das Ich, Xiu Xiu and Linea Aspera, and continues to expand its live presence, with a U.S. tour scheduled shortly after the album’s release.

Tour Dates:

May 22nd NYC, NY – TV Eye 
May 30th Portland, OR – High Water Mark
May 31st – Oakland, CA – Eli’s Mile High Club
June 4th – Los Angeles, CA – Escondite
June 6th – Phoenix, AZ – Linger Longer Lounge
June 7th – Albuquerque, NM – Blackwall Gallery
June 8th – El Paso, TX – The Rosewood
June 10th – Austin, TX – Whiplash
June 11th – Houston, TX – The Way Up
June 12th – New Orleans, LA
June 13th – Chattanooga, TN
June 14th – Knoxville, TN – Cactus Club
June 15th – Asheville, NC – Static Age
June 16th – Charlotte, NC – Snug Harbor
June 17th – Richmond, VA – Fallout RVA
June 18th – Pittsburgh, PA – Rock Room
June 19th – Philadelphia, PA – The Catacombs
June 20th – Easton, PA – Club Coven

Follow Bustie:

• Instagram
• Spotify
• YouTube

The post “Whispers in the Night” — NYC Anarcho Body Music Project Bustié Turns Loss and Lust Into Dark Dance Sensuality on “THROB” appeared first on Post-Punk.com.

Posted on May 22nd 2026, 1:42p.m.

Talking To Portable Hole Publishing @ Brooklyn Independent Comics Showcase 2026 Talking To Sophie Spaner @ Brooklyn Independent Comics Showcase 2026 Talking To Michael Jasorka @ Brooklyn Independent Comics Showcase … Continue reading Exhibitor Interviews from Brooklyn Independent Comics Showcase 2026: Part 2 →

Australian Extreme Metal outfit King Parrot have announced a no-holds-barred UK headline tour for September 2026 following their huge arena run supporting Pantera and Power Trip across Europe in 2025.

The band recently wrapped a 39-date US tour alongside Gwar and Soulfly and will head into the UK dates firing on all cylinders. Veteran bassist Derek Engemann (Scour, Philip H Anselmo and The Illegals, ex-Cattle Decapitation) will once again perform with the band.

“We’re really excited to be returning to the UK after our massive run with Pantera and Power Trip last year,” vocalist Matt Young said. “We can’t wait to bring our full headlining set out, and we’ll be delivering cuts from every album, including a whole swag from the new record. Looking forward to seeing our UK mates this September.” 

The UK tour will hit Bridgwater, Swansea, Derby, Birmingham, Liverpool, Southampton, London, Norwich and Glasgow throughout September 2026. Tickets are available from kingparrot.net.

King Parrot will also appear at several European festivals including Summer Dying Loud, Metal!!! 2026 and Get Lost Fest.

The post King Parrot Announce Explosive UK Headline Tour After Pantera Arena Run first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Posted on May 22nd 2026, 1:23p.m.

Olivia Rodrigo has given us another taste of her upcoming album ‘you seem pretty sad for a girl so in love’, and this one is a melancholic pop-rock cut overflowing with anguish.

Following the release of her third album’s opening track ‘drop dead’ last month, it feels particularly fitting that this one is titled ‘the cure’.

Recently, Olivia has made no secret of her love for Robert Smith and co. – even namedropping the band’s iconic track ‘Just Like Heaven’ in ‘drop dead’ – and this new single is another reminder that her dizzying pop anthems undoubtedly have a place in the rock world.

Built on a melancholic guitar line and boasting a powerful, angst-fuelled chorus, ‘the cure’ is the kind of track you’ll instantly want to put on full blast and belt out of your car windows as you drive.

Check it out alongside a video that sees the singer trying to find a cure for a broken heart.

‘you seem pretty sad for a girl so in love’ will be released on June 12.

The artwork looks a lot like this:

The post Olivia Rodrigo Shares Melancholic New Track ‘the cure’ appeared first on Rock Sound.

Posted on May 22nd 2026, 1:06p.m.