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Band:	Chat Pile
Release:	Who Loves The Sun
Genre:	Hardcore, Sludge, Noise Rock
Country:	America
Release Date:	4th of September, 2026
Released via	The Flenser

One band that has made huge waves over the last few years is definitely Chat Pile. Whether it’s their distinctive lyrics, their nerdy appearance or the very unique sound of the Oklahoma group, there is simply no way around this band right now. That makes it even more exciting that Chat Pile will release their third album Who Loves The Sun on September 4th via The Flenser.

Once again, the band manages to make their songs so interesting and weird from the very first second that you simply want to keep listening. Of course, the extremely deep bass sound and groovy drums from their previous records are still there. But with Who Loves The Sun, Chat Pile put a much stronger focus on melodic elements inspired by indie and alternative rock. Tracks like “Deep Blue” feel more catchy and easier to digest at first than some of their older material.

Social criticism, or to put it more dramatically, just how fucked up our world is, remains the lyrical foundation of the band. Chat Pile hold the ugly face of our society right in front of us with songs like “Same Rules” or “PEN I S MALL“. Even when the songwriting becomes more melodic or emotional, there is still a harsh reality hiding behind every line and every riff.

It’s also interesting to hear how vocalist Raygun Busch spreads new nuances of his voice throughout the album. A track like “Shrine” showcases this really well during a few short moments and adds another side to his already unique vocal style.

The guest appearances from Claire Hannah and Brittany Sawtelle feel especially refreshing. Both are a great addition and it’s impressive how naturally they fit into Chat Pile’s sound. Already well-written tracks like “Intruder” and “Influence” become even better because of their contributions. With “Intruder“, the Oklahoma group manages to create the perfect kind of chaos. The way its more harmonic parts slowly develop into an absolute noise rock thunderstorm is simply insane.

Who Loves The Sun is another great album. Chat Pile manage to stay true to themselves while bringing new elements into their sound at the same time. It probably won’t work for everyone, but you have to give the band credit for continuing to separate themselves from the grey mass around them. At the same time, they address social issues in a way very few bands are able to.

Chat Pile completely won me over with this one and remain one of the best and most interesting bands around the globe in 2026.

“Everything will be fine.” – Chat Pile

Bourbon has ruined romances, started fistfights, improved lies, destroyed judgement, and convinced generations of perfectly reasonable people that singing at 2:17 in the morning was an excellent idea. Los Tres Mortales understand its dramatic possibilities: their debut single, Bourbon, throws Caroline Blind and CWHK of Sunshine Blind together with Troy Payne of The Wake, three veterans of American gothic rock who could easily have made something stately and respectable. Thank God they went for the saloon instead.

The lyrics leave busted bottles, motel sheets, gasoline, libation-drenched lies, and poor decisions scattered around. The song narrates the story of Blackout Bourbon Baby staggering through this chaos, laughing and smashing whatever’s left to prevent morning from revealing anything. Somewhere between downtown and oblivion, two people continue dancing because sobriety would end the argument forever.

CWHK builds the track around drums that hit with blunt purpose and guitars carrying enough weight to make the floorboards complain. Payne steps into the song sounding tightly wound, severe, possibly one drink away from delivering a lecture nobody requested. Then Blind answers him. Her voice brings mischief into the argument, loosening his collar one button at a time while the two circle the fictional Blackout Bourbon Baby from opposite sides.

“CWHK gave us the music and the title…and Troy came up with the story of the Blackout Bourbon Baby,” says Blind. “I knew it would be perfect to respond to his character by becoming the voice of the Bourbon Baby herself, telling him to chill out and stop being so tight-laced. The back and forth between two people trying to convince each other of their point of view creates a tension you just don’t get from a single voice. It’s also only somewhat reflective of my actual friendship with Troy!”

That “somewhat” is doing magnificent work. The pleasure comes from hearing two personalities collide rather than politely alternate. Payne bears down; Blind needles him. One voice wants control, the other keeps opening another bottle. Their exchange gives Bourbon the shape of an argument that became flirtation somewhere around closing time, and will probably become an argument again before breakfast. Rich W tears through the middle with a lead guitar break that adds another streak of poor planning.

Los Tres Mortales themselves began almost as casually.

“Some people get together with their friends and play board games or have barbecues,” Blind quips. “When we get together, we share whatever music we’re working on, somebody jumps in with an idea, and suddenly we’re all working together. My advice? Write music with your friends. Collaborate. Celebrate. People were doing it for millennia before the internet!”

There are worse manifestos.

Tintin’s video wisely avoids sophistication. Blind and Payne perform in front of a wall of fire because sometimes a wall of fire is exactly what civilization has been building toward. Flames leap behind them while both singers attack their roles with the delighted seriousness of people who know melodrama becomes much more enjoyable once you stop apologizing for it. The result is funny, theatrical, cheap-looking in the complimentary midnight-movie sense, and perfectly suited to a song named after brown liquor.

Watch below:

Produced by CWHK and mastered by William Faith, Bourbon carries decades of experience without behaving like anybody has been appointed curator of the past. Los Tres Mortales sound pleased to be here, pleased to be loud, and especially pleased to discover that friendship, guitars, alcohol mythology, and gratuitous fire remain perfectly serviceable reasons to start a band.

Listen to Bourbon below and order the single here.

Follow Los Tres Mortales:

• Bandcamp
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The post Members of The Wake and Sunshine Blind Collaborate in Los Tres Mortales — Watch Video for Debut Single “Bourbon” appeared first on Post-Punk.com.

For the past few months, former Turnstile guitarist Brady Ebert has been held without bail at the he Montgomery County Correctional Facility in Boyds, Maryland. Ebert is being charged with attempted murder after allegedly using his car to intentionally run over 79-year-old William Yates, the father of Turnstile singer Brendan Yates. Before he can face trial, though, a judge has ordered that Ebert needs to undergo an evaluation to see whether he’s competent to participate in that trial.

The post Ex-Turnstile Guitarist Brady Ebert Ordered To Undergo Competency Evaluation Before Attempted Murder Trial appeared first on Stereogum.

YAO, the sensational new project from ONE OK ROCK, Paledusk, Awich, and Chico Carlito, have shared their second ever track.

Titled ‘FOR OKINAWA’, the track is an emotional outpouring that bridges the gap between hard rock balladry and trap-tinged rap. It continues to showcase the band’s unrelenting desire to break down every boundary that comes their way, whilst continuing to make sure that the strengths of every member are put front and centre.

It’s magical, mysterious and absolutely sensational. It is culture in action, especially that of the region of Okinawa, the homestead of Awich and Chico Carlito. A moment to celebrate the history of the region as well as allow the scars of its past to never be forgotten.

Have a listen below. For Okinawa, forever.

It follows on from the brilliant ‘777’ which sounds like this:

The post YAO Share Sentimental New Track ‘FOR OKINAWA’ appeared first on Rock Sound.

New dates arrive just days after they added four New York-era stops, beginning in late April. Continue reading…

Interview: Kevin Starr of Uncle Acid and the Deadbeats

Interviewed by Rick Eaglestone

Kevin Starrs of Uncle Acid and the Deadbeats talks to us about the bands new album ‘Shapes Of Midnight’.

He discusses the origins of the bands sounds, the differences releasing their own album verses working with Rise Above Records, recording at the legendary Abbey Road studios, the theming of the album and the Poe influence, whats left on his bucket list and so much more!

You can listen to the interview below, or jump over to any of the usual streaming services!

Youtube | Spotify | Apple Podcasts | Youtube Music

Check out all of our interviews on the usual podcast channels!

Youtube | Spotify | Apple Podcasts | Youtube Music

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Interview: Kevin Starr of Uncle Acid and the Deadbeats appeared first on The Razor's Edge.

"Our thoughts remain with everyone affected by this tragic event," the band said in a statement. Continue reading…

Every definition closes off certain possibilities. Naming an experience can help us understand it, but a name can also become a verdict, reducing a person to one fixed account of who they are and what their wounds mean. Human beings are rarely so easy to settle. We contradict ourselves, bear the consequences of our choices, and continue to change even after others believe they understand us. Resistance may begin there: in defending the right to remain complex, unresolved, and unfinished.

Berlin post-punk and darkwave mainstays Golden Apes enter that unsettled territory with Resistance, the first single from The Sun Came Up Tremendously, their twelfth studio album, due September 18 through Icy Cold Records. Released today alongside a film written and directed by vocalist Peer Lebrecht, the song treats opposition as an internal friction: the force that keeps identity from hardening into a final shape, even when certainty would be easier.

Resistance opens on a resonant guitar figure, answered by a single low keyboard tone. Hi-hats enter with a dry sizzle; Christian Lebrecht’s bass gives the piece forward pressure, while wavering synths and Salomon Bosse’s drums steadily enlarge the frame. Once the heavier guitar figure lands, the track assumes the emotional scale of mid-’80s gothic rock. Peer Lebrecht sings in a deep baritone that stays composed as the arrangement grows dense, and the guitars follow the cadence of his lines with a spring-loaded post-punk lift before thickening between verses.

At intervals, the drums loosen into splashes, and the rhythm pulls back, leaving more air around Peer’s euphoric delivery. A clean, melodic guitar solo settles at the center point, almost plain in its design; its calm gives the vocal’s return greater weight. The measured bass, sober guitar tone, and baritone gravity recall Scottish cult band Lowlife, while the surrounding textures remain recognizably Golden Apes.

The band describes the song’s central idea in terms of identity, complexity, and damage:

“…Maybe that is the actual resistance. Not resistance against an external system, but resistance against final form. Against definition. Against the temptation to trade complexity for peace. Half-damaged instead of neatly resolved.

I am the enemy…”

Lebrecht’s film, based on a lucid dream by Vito Schneider, transfers that internal struggle to an abandoned clinical ward rendered in sickly greens and exhausted amber. A striped spinning top travels down an empty corridor; barefoot figures in hospital gowns occupy tiled rooms and enact private systems whose purpose never fully declares itself. One scrubs water from a floor into a bucket, another fills a bathtub, one drinks from a metal cup, and another holds an open umbrella beneath a dry ceiling. A solitary player moves grapes across a checkerboard, while a black telephone waits inside a star-lined suitcase. Elsewhere, a reel-to-reel machine runs beside clasped hands, as though recording testimony from a room that has forgotten its questions.

Golden Apes perform throughout the ward, each member stationed apart in bathrooms, bare rooms, and passages. High overhead angles flatten bodies into diagrams, while the repetition of circular objects—the spinning top, fruit, reel hubs, and drum heads—turns the building into a machine for processing unresolved thought. In the closing coda, a black-clad figure carries armfuls of hospital gowns into a laundromat and feeds them into a washer. The garments pass through one more cycle, suggesting cleansing, erasure, recurrence, or all three at once.

Watch the video for Resistance below:

For more than two decades, Golden Apes have moved among post-punk, darkwave, gothic rock, indie rock, and electronic experiment, bringing delicate guitar melodies, driving bass, and Peer Lebrecht’s sonorous voice into a language of their own. The Berlin group has appeared at Wave-Gotik-Treffen, Castle Party, and Murder of Crows, toured across Europe, the United States, Canada, and Russia, and shared stages with And Also The Trees, The Chameleons, Pink Turns Blue, Clan of Xymox, She Past Away, Whispering Sons, TRAITRS, Then Comes Silence, and A Projection.

The Sun Came Up Tremendously follows the band’s 2024 album Our Ashes at the End of the Day. Its ten songs were written between 2024 and 2025, then recorded and produced at Thommy Hein Studios in Berlin from late 2025 into early 2026. Resistance was mixed by Thommy Hein and Peer Lebrecht and mastered by Hein, who also contributes guest guitar. The current Golden Apes lineup comprises Peer Lebrecht on vocals and synths, Maximilian Hennig and Stephan Schönefeld on guitars, Christian Lebrecht on bass, and Salomon Bosse on drums.

“…o sun, that healest all distempered vision, thou dost content me so, when thou resolvest,

that doubting pleases me no less than knowing!” – Dante Alighieri, Divina Commedia

Listen to Resistance below, and pre-order The Sun Came Up Tremendously through Bandcamp. The album arrives September 18 via Icy Cold Records.

Follow Golden Apes:

• Official Website
• Bandcamp
• Instagram
• Facebook
• YouTube

The post “I am the Enemy” — Berlin Post-Punk Veterans Golden Apes Confront the Half-Damaged Self in Video for “Resistance” appeared first on Post-Punk.com.

The UK’s youngest touring rock band, Midlands-based heavy rock outfit Retsecrow(s), have landed a major endorsement after teaming up with legendary British music titan Laney Amplification. Featuring four members aged between 14 and 17, the prodigious quartet were handpicked by the historic brand to soundtrack the launch of their brand-new Audiohub multi-input amplifier range with … Continue reading Retsecrow(s) partner with Laney Amplification to launch Audiohub range alongside new single “Follow”

Punk mainstays Fake Names are back with their third studio album, Punk Ruins, out October 23. Their first