Amarax .
The post Amarax unleash debut video for track “Rescue” first appeared on Sleaze Roxx.
Amarax .
The post Amarax unleash debut video for track “Rescue” first appeared on Sleaze Roxx.
It has been more than six years since Grimes released Miss Anthropocene, and let me tell you, those six years have been eventful. Grimes has lately been planting seeds for Psy Opera a new album that supposedly will not feature any generative AI. At Coachella earlier this year, she made a surprise appearance onstage with Cobrah, a Swedish artist who, at least according to a press release, comes “Stockholm’s underground fetish scene.” Today, that song is out.
The post Cobrah & Grimes – “Sign From God” appeared first on Stereogum.
In the time since her 2024 album For Your Consideration, Empress Of’s family home in California burned down in the Altadena fires. She grappled with the tragedy on last year’s “Blasting Through The Speakers” and March’s “Dream House,” and now the singer-songwriter is announcing her new LP called Dream House.
The post Empress Of Announces New Album <em>Dream House</em>: Hear “Wild Storm” appeared first on Stereogum.
In 1973, David Bowie discovered Bruce Springsteen via the New Jersey singer/songwriter’s debut album, Greetings from Asbury Park, N.J, and liked what he heard, to the extent that he decided to cover not one, but two, songs from the record.
In November ’73, during the early sessions for Diamond Dogs, Bowie recorded a version of Growin’ Up with The Faces’ (and future Rolling Stone) Ronnie Wood on guitar, and a year later, while recording at Sigma Sound Studios in Philadelphia for what became his Young Americans album, the English star taped a version of the closing track on Greetings…. It’s Hard To Be A Saint In The City. A DJ who’d been supportive of Bowie’s past releases was invited to drop into Sigma Sound to hear the work-in-progress, and when Bowie mentioned that he was recording a Springsteen cover, the DJ asked, “Do you want me to get Bruce down?”
Calls were duly made, and Springsteen took a Greyhound bus down to Philadelphia to hang out, arriving on the morning of November 25, at around 1am. The 25-year-old American was doubtless bemused to find that Bowie wasn’t actually there when he arrived… and perhaps even more bemused when the English star showed up an hour later “out of my wig”, as Bowie later admitted, with a hint of embarrassment, in a 1987 interview with Musician magazine.
Joking with writer Scott Isler, Bowie said he “vaguely remembered” Springsteen’s visit, and added, “I remember chickening out of playing [It’s Hard To Be A Saint…] I didn’t want to play it to him ’cause I wasn’t happy with it anyway.”
“I used to go and see him,” Bowie continued. “I hated him as a solo artist, when he came on and did this Bob Dylan thing. It was awful, so cringe-making. He’d sit there with his guitar and be folky, have these slow philosophical raps in between the songs. As soon as the band came on, it was like a different performer and he was just marvelous.”
Of the night itself, Bowie admitted, “I just couldn’t relate to him at all. It was a bad time for us to have met. I could see that he was thinking, ‘Who is this weird guy?’ And I was thinking, What do I say to normal people? There was a real impasse.”
Springsteen departed at around 5am, right around the time, according to an onlooker, that Bowie started banging on about UFOs: the young American didn’t get to hear his song. In fact, Bowie’s version of It’s Hard To Be A Saint In The City remained unreleased until it surfaced on the Sound + Vision box set in 1989. His take on Growin’ Up emerged on the Ryko reissue of Pin Ups and, subsequently, on the 30th anniversary reissue of Diamond Dogs.
The song begins with a driving rhythm that draws listeners in with its refined and alternative vibes. The music envelops you, creating an experience that merges elegance with an easygoing feel, while addressing profound themes. Matt Law’s single “Made Up Construct” delves into the philosophical notion of humans’ constant quest for meaning and connection. The lyrics engage with our tendency to make everything revolve around our personal experiences.

The architect behind this musical project, Matt Law, has collaborated with talented musicians such as drummer Taylor Whyte, bassist Alex Duncan, rhythm guitarist Kian Carrol, and lead guitarist Morgan Flanagan. This group shares a strong chemistry, enhancing their creative output. The synergy among the band members fosters a unique vision that sets their music apart.
The sound is intriguing and never overwhelming. It reaches listeners as gently as snow falls on a field. Yet, like snow altering the landscape, this track has the capacity to transform your surroundings. For a moment, you might feel as if you have stumbled upon an old, yellowed Polaroid that brings forth distant memories. This ability to evoke nostalgia adds to the overall depth of the song.
Law’s exploration of existential themes is thought-provoking and relatable. The lyrics challenge listeners to reflect on their interactions and relationships with the world. It’s a call to reconsider our positions and the stories we create. The music progresses fluidly, resonating with those who often find themselves questioning the meaning behind their experiences.
Taylor Whyte’s drumming lays a solid foundation, propelling the song forward with each beat. His rhythmic patterns enhance the dynamic feel of the track. Alex Duncan’s bass work provides a warm, grounding undertone. The bassline supports the melody while ensuring the overall sound remains richly textured.
Kian Carrol’s rhythm guitar introduces an engaging harmonic layer, integrating with the rest of the instrumentation. Morgan Flanagan’s lead guitar takes listeners on a journey through melodic highs and lows.
This collaboration results in a well-crafted piece of art that invites listeners to immerse themselves completely. They have evidently poured their hearts into this project, allowing for an authentic expression of their collective vision.
The song gently nudges you to contemplate significant questions about identity and connection. Its reflective quality makes it applicable to various life situations.
“Made Up Construct” is an enriching experience that intertwines a profound message with elegant musicality. This blend creates an inviting atmosphere, making it easy for listeners to lose themselves in the music while simultaneously pondering their own realities.
Matt Law and his band have crafted a beautiful song that deserves to be heard.
Philosophic
If you love this music: Discover MoreThe post Matt Law Made Up Construct Review appeared first on Edgar Allan Poets – Noir Rock Band.
Posted on June 26th 2026, 3:22pm
He’s gone country! Killers frontman Brandon Flowers revealed this week that he went to Nashville and tapped into the country music tradition for his new solo album Thrasher. To my colleague Tom Breihan, the music in the album trailer sounded like a Killers song with more pedal steel, but I was pretty taken aback by how much it resembled a country ballad from the old-time Nashville studio system. Now there’s a single that continues to up the twang quotient.
The post Brandon Flowers – “Plans” appeared first on Stereogum.