Post-Rock Trio Jagged City Share "Ocean East, Ocean West" Video

Post-rock band Jagged City, featuring Jake Woodruff (Defeater) and Carlos Torres (former touring member of Explosions In The Sky) have unveiled their new single "Ocean East, Ocean West." This is the second single taken from their debut EP, There Are More of Us, Always, to be released on January 30 via Pelagic Records.

Watch the visualizer Below.

Stream HERE.

There Are More of Us, Always is a bold collection that moves between spacious, melodic guitar passages and raucous, swelling climbs. With heartfelt, melodious songwriting, a diverse range of eclectic touches buried within, and eruptions of dense, layered sound, this record delivers wonderfully balanced compositions through raw and personal production.

The project began as a cross-continental art experiment between Woodruff and Torres. What started as a simple exchange of ideas quickly found real shape through collaborative composition and thoughtful arrangement. Early sessions with David Haik helped refine the song structures and drum frameworks, setting the groundwork for what would become Jagged City's striking debut.

"We wrote with pure instinct, just tried to add something new to a genre that we love. As we traded ideas, we took some left turns and incorporated elements that may be unexpected," commented Woodruff.

When it came time to record, scheduling issues led to an inspired change of plans. Urian Hackney joined the project both behind the kit and behind the board, engineering and performing the drum parts that propel the record. In two intense days at The Box studio in Burlington, Vermont, Jake and Urian captured the core of the album with an immediacy and urgency that remain audible in every take. 

Carlos recorded bass in Los Angeles alongside longtime musical colleague Michael James (Explosions In The Sky), while Jake added further guitar textures from his home studio, creating layers that thread the compositions together.

This debut is both a statement of intent and an open invitation: Jagged City offer music that rewards close listening and communal experience—an instrumental journey shaped by collaboration and a fierce commitment to feeling. While still post-rock, There Are More of Us, Always utilizes a diverse range of influence, giving a freshness to each uniquely realized track.

"This record is a product of collaboration and love and creativity - we hope it inspires people to be connected and think collaboratively and creatively together. That's the only way forward," concludes Woodruff.

JAGGED CITY ARE: 
Jake Woodruff — guitar
Carlos Torres — bass
Urian Hackney — drums & production
Featuring Takaakira Goto as guest guitarist on "Deluge in a Paper Cup"

The Intemperate Sons Release Cover of Julien-K's "Photo Voltaire" with Music Video via Frame|Work

The Intemperate Sons open 2026 with a powerful cross-genre collaboration, releasing their cover of Julien-K’s “Photo Voltaire”. The track mixes the band’s signature alternative hard-rock foundation with the dark, synth-driven atmosphere of the original, creating a fresh reinterpretation that highlights the strengths of both groups. The release features a special appearance by Julien-K’s Amir Derakh, whose production sensibilities and guitar work have long been central to the band’s influential sound.

 

Stream/Download "Photo Voltaire":

https://onerpm.link/137212555518

https://linktr.ee/theintemperatesons


The Intemperate Sons release all their music through the Frame|Work record label at the direction of Amir Derakh and Ryan Shuck. All Intemperate Sons’ tracks are mixed by Amir Derakh at Synthicidein Long Beach, CA. 

 

The music video was shot at Hurricane Alley Live in Bossier City, LA.  It was edited by Keith Watson and shot by Daniel Dooley.  

WATCH "Photo Voltaire" - A Julien K Cover by The Intemperate Sons:

In the sweltering Dallas summer of 2019, before the onset of a global pandemic, The Intemperate Sons were born from blood, grit, and a shared obsession with the ghosts of alternative rock’s golden age. The Watson family—Keith on drums, Jake on guitars, and Max on vocals, guitars, and keys—joined forces with longtime friend and bassist Mark Marks to create a sound that’s equal parts searing riffs, haunting harmonies, and unapologetic soul. Think Alice in Chains’ brooding intensity, Stone Temple Pilots’ swagger, and R.E.M.’s poetic undercurrent, all filtered through a ‘70s rock haze that refuses to play it safe.

This isn’t just a band; it’s a family affair, where the unspoken bond between father and sons fuels every chord and lyric. Keith, a Dallas stage veteran, pens lyrics that cut deep—tales of regret, resilience, and the chaos of the human condition. Jake’s guitar lines, sharp yet soulful, weave narratives of their own, while Max’s voice carries the weight of a 25-year-old who’s lived a lifetime in his head. Mark, the groove-obsessed bassist, ties it all together.

The Intemperate Sons hit the ground running, catching the ear of rock heavyweights Ryan Shuck and Amir Derakh (Orgy, Dead By Sunrise, Julien-K), who signed them to their Frame|Work label in 2021. Even a global pandemic couldn’t derail their momentum—holed up in The Kitchen Recording Studios, they crafted their debut album, The Color Within (2022), with tracks like “Dust to Dust” and “Running Man”that pulse with raw emotion and retro grit. Collaborations with legends like Tony Franklin (Whitesnake, The Firm) on singles like “Running Man” and “Dust to Dust” and Derakh’s production on singles like “Game of Keep Away” and “Dark Day’s Night” featured on their second and highly successful album, Dark Day’s Night (2024) pushed their sound further, blending post-grunge edge with folk and hard rock undercurrents.

For fans of alternative rock, this band is a throwback and a revelation—a reminder of why you fell in love with the genre’s raw honesty and a promise that its spirit still burns. The Intemperate Sons aren’t chasing trends; they’re carving their own path, one riff, one lyric, one night at a time.performing tracks that scratch deep into the backbone of the human experience. There is no shortage of darkness in their writing style which has a retro vibe with many guitar driven tracks stacked on top of a groovy rhythm section. The heavier style fits perfectly with the two and three-part vocal harmonies that are a huge part of their overall sound. It has been said that musicians that are related form unique sounds and communicate on a frequency only they can understand. This frequency has become engrained in their songwriting, arrangements, guitar melodies and vocal harmonies. The band has been compared to Alice in Chains, Stone Temple Pilots, and even R.E.M.

The Intemperate Sons are:

Max Watson (vocals, backing vocals, guitars, keys, bass)

Jake Watson (guitars, bass and backing vocals)

Keith Watson (drums, backing vocals)

Mark Marks (bass)

 

The Intemperate Sons Show Dates:

 

Friday MAY 15 @ Whisky A Go Go in West Hollywood, CA w/ Gene Loves Gezebel, Vanta After Dark

For More Information Please Visit:

The Intemperate Sons

Official Website

Facebook

Instagram

TikTok

YouTube

Spotify

Merch Store

 

FRAME|WORK

FRAME|WORK Website

FRAME|WORK Instagram

BLACK SEA OF TREES Announce New Single "Visions of A Crimson Moon".

Melbourne-based progressive metal band BLACK SEA OF TREES have revealed their new single "Visions of a Crimson Moon".

"Visions of a Crimson Moon" occupies a central position within this narrative. The song marks the first moment of uncertainty for the protagonist. A prophetic dream reveals a cosmic serpent and visions of a kingdom exposed under crimson moonlight. The landscape is shown as barren and built on destruction, with temples of bone beneath a sky dominated by a black hole. The vision introduces doubt that continues to shape the remainder of the album.

Musically, the track unfolds as a long-form progression defined by shifting dynamics and tonal contrast. Structured passages dissolve into atmospheric meditation before reforming into heavy, technical climaxes. Rolling percussion, layered guitars, and cyclical lead motifs establish a sense of motion and inevitability. A recurring note-bending guitar phrase introduces a circular, gravitational feel that becomes a key motif later in the album.

About BLACK SEA OF TREES:
Based out of Melbourne and Victoria in Australia, the progressive metal ensemble composes their music around the narrative of their releases. BLACK SEA OF TREES formed in 2018. The debut album, The Spiritual Beast, materialized in the spring of 2023. The band's forthcoming sophomore full-length is an exploration of spirituality, folklore and philosophy, with death metal, folk and ambient elements incorporated into the soundscapes. "A Red Dawn" marks the beginning of this next chapter for BLACK SEA OF TREES, introducing this next album's concept: the protagonist is chosen by god to overthrow an old kingdom in a spiritual revolution. It's a narrative that is heavily influenced by the Ancient Egyptian Pharaoh, Akhenaten and his life’s journey.

BLACK SEA OF TREES bring to life their themes and concepts through dark atmospheric tones, strong full voiced melodies, falsetto and deep growls. With songs ranging from intense 8-minute long walls of sound to 3-minute atmospheric/acoustic passages, BLACK SEA OF TREES draw inspiration from the likes of OPETH, KATATONIA, CULT OF LUNA, RUSSIAN CIRCLES, and KARNIVOOL. A wide array of styles is entwined into the outfit's distinctive and compelling sound. 

BLACK SEA OF TREES is:
Samuel Exton - Vocals/Guitar
Jan Schotting - Drums
Francesco Adami - Bass
Chris Schwinghamer - Lead Guitar

Connect with BLACK SEA OF TREES:
Bandcamp: https://blackseaoftreesofficial.bandcamp.com/
Instagram: https://www.instagram.com/blackseaoftrees
YouTube: https://www.youtube.com/channel/UC24GQ_gVO_PPBR5TJqmdZpQ
Spotify: https://open.spotify.com/artist/3zogtBHiOCIaGsOfy7y6oS
Apple Music: https://music.apple.com/au/artist/black-sea-of-trees/946433249

NECRONOMICON EX MORTIS Return With “Left To Die,” A Gore-Soaked Death Metal Stomp

Death metal maniacs NECRONOMICON EX MORTIS are back in full blood-drenched form with their new single, “Left To Die,” a crushing mid-tempo bruiser taken from the forth coming EP Zombie Blood Nightmare, arriving February 20, 2026.

“Left To Die” is a straight-ahead stomp fest rooted in classic 1990s death metal, drawing clear influence from the pit-driving grooves of OBITUARY. Built on thick riffs and head-crushing momentum, the track culminates in a ripping end-of-song guitar solo from former MEGADETH shredder Jeff Young, adding a sharp flash of old-school virtuosity to the carnage.

Lyrically, “Left To Die” keeps things simple and gloriously vile. The song tells the story of being abandoned in a gore pit, surrounded by blood and guts and facing an inevitable end. No metaphors and no apologies. Blood and guts are fun.

NECRONOMICON EX MORTIS return with a fiery vengeance on Zombie Blood Nightmare, a new EP that finds the band at their most unhinged. Across six blood-soaked songs, the band pushes hard to recapture the glory days of 1990s death metal, blending horror, violence, and undead absurdity into a relentless riff-driven assault. This is NEM fully committed to terror, stupidity, and the raw spirit of the genre.

“Left To Die” serves as a blunt and bloody introduction to what Zombie Blood Nightmare delivers in full. Heavy, grotesque, and unapologetic.

Status Quo's Francis Rossi Shares Double Single "Push Comes To Shove + November Again"

Francis Rossi kicks off 2026 in emphatic style with two brand-new songs, released as a digital double single and taken from his long-awaited new studio album The Accidental, out January 30.

"Push Comes To Shove" bursts with energy, grit and Rossi's unmistakable guitar sound, while "November Again" turns a melancholy refrain into a soaring, catchy chorus. Both tracks capture the founding Status Quo frontman in full flow: Confident, energized, and recalling the sound that made him a cornerstone of British rock.

The Accidental was born from spontaneous studio sessions with guitarist Hiran Ilangantilike and co-producer Andy Brook, resulting in a vibrant album that sounds immediate, alive and free of expectations.

Together, with the previously released tracks "Something In The Air (Stormy Weather)" and "Go Man Go," the new songs "Push Comes To Shove" and "November Again" set the tone for what promises to be one of Francis Rossi's most exciting solo releases to date.

The Accidental finds Francis Rossi once more at the top of his game, delivering a searing yet thoughtful collection of rockers that will please anyone who likes their heavy cut with melody and verve.

Listen to the "Push Comes To Shove" + November Again" Below.

Pre-Order The Accidental HERE.

"For anyone who liked any of my solo albums previously," says Francis Rossi, "… well, I've no idea what you'll make of this one because it's a real departure, but I love it. It's loud, the guitars are right to the fore, and there are some great songs there."

JASON ALDEAN RELEASES THREE NEW SONGS AHEAD OF SONGS ABOUT US APRIL 24 ALBUM RELEASE

Multi-platinum award-winning artist and reigning country powerhouse Jason Aldean continues the rollout of his upcoming album, Songs About Us, with the release of three new tracks today. The songs offer fans a deeper look into the emotional breadth of his new 20-track album and includes Aldean’s long-awaited duet with his wife. “Easier Gone” featuring Brittany Aldean, “Her Favorite Color” and “What’s A Little Heartache” are available now ahead of the official release of Songs About Us on April 24, 2026. Pre-add, pre-save, pre-order HERE.

“This album is about real life,” shared Aldean. “The highs, the lows, and everything in between. Every song started from a real place, and when it all came together, I realized these really are songs about all of us.”

Coinciding with the new music, Aldean, a two-time nominee at the 2026 iHeartRadio Music Awards, appears as the January cover star of Nashville Lifestyles, reflecting on family, longevity, and the personal experiences shaping this next chapter of his career. The feature mirrors the heart of Songs About Us, an album rooted in real-life stories and the music that defines him. To read his cover story, visit here.

Today’s release follows the November announcement of Songs About Us and the surprise drop of “Help You Remember,” “Hard To Love You,” and “Lovin’ Me Too Long,” along with Aldean’s current Top 10-and-climbing single, “How Far Does A Goodbye Go.” Songs About Us follows the reigning ACM Artist of the Decade’s last album, Highway Desperado, which earned him his first career Billboard Hot 100 chart-topping hit and his 30th career #1 at country radio.

Over the past two decades, Aldean has built a remarkable career with 13 Top 10 country albums, 30 No. 1 hits at country radio, and a chart-topping Billboard Hot 100 hit. Recently honored with a SoundExchange Hall of Fame Award for being one of the most-streamed artists of all time, the multi-platform headliner also spearheaded CBS’s New Year’s Eve 2026: Nashville’s Big Bash, performing live for millions across the country and debuting a new track from his upcoming album.

Aldean is set to continue his high-energy Full Throttle World Tour, which returns to the US next week (January 15) before kicking off its 2026 international run in New Zealand, where he will headline for the first time, and Australia, marking his long-awaited return after more than a decade.

For more information on Songs About Us, Full Throttle tour dates, and other Aldean updates, visit www.JasonAldean.com.

KEEP UP WITH JASON ALDEAN

WEBSITE | INSTAGRAM | TIKTOK | YOUTUBE | FACEBOOK | X

A RETURN TO WIDE OPEN WONDER: HUNTERGIRL RELEASES “SOMEWHERE WILD” — OUT NOW

With “Somewhere Wild,” out today via 19 Recordings/BBR Music Group/BMG Nashville, HunterGirl steps into 2026 with a song that feels like stepping barefoot into cold creek water and remembering who you used to be. Written with Jeff Garrison and Bob DiPiero, the track is a slow burning, windswept release built on the urge to slip away from the noise, touch the earth again, and follow the quiet pull of a freedom you can feel long before you can name it. Listen Below.

Anchored by a steady, heartbeat pulse and lifted by Dobro and pedal steel that move like shifting light through trees, the song leans into the cinematic sweep of open country. HunterGirl’s unmistakable voice carries both grit and vulnerability, turning the melody into a compass and the chorus into a reminder that somewhere out there is the place that sets your soul back on fire.

“‘Somewhere Wild’ was a song that just fell out in the writing room. It was exactly where my heart was at the beginning of this year. When I was little, my Grandpa had a place by the creek he called The Wilderness. He made it magical. You had to say The Wilderness three times before running through the woods with my sister and cousins, and for a moment it felt like anything could happen.

As you get older, those words, ‘anything can happen,’ start to mean something very different. The unknown becomes a scary place to be. This year I felt like I was back in The Wilderness, but this time I was lost in it.

‘Somewhere Wild’ became my way back. It was a journey of finding myself again and reigniting that spark of endless possibility. It is a reminder that it is never too late to grow, and that sometimes being lost is what leads you home.”

– HunterGirl

“Somewhere Wild” follows “Dirt,” which arrived last fall and struck a chord with fans for its rich, small town imagery and grounding sense of home. It adds to the growing momentum HunterGirl has built through a steady run of releases, including her acclaimed Tennessee Girl EP, each one further establishing her voice as a natural storyteller. Along the way, she has earned 80 million global streams, a Grand Ole Opry debut to a standing ovation, and received praise from People, CMT, and MusicRow, who hailed her as “a major, major new talent.” With tours alongside Luke Bryan and Kimberly Perry, HunterGirl continues to build a career defined by heart, honesty, and an unmistakable point of view, all of which converge on “Somewhere Wild.”

KEEP UP WITH HUNTERGIRL

WEBSITE | INSTAGRAM | TIKTOK | FACEBOOK | X | YOUTUBE

About HunterGirl: 

HunterGirl is a luminous and emotionally grounded songwriter rooted in Tennessee storytelling. Onstage since she was three and writing songs by nine, she built her career the old school way, playing honky tonks across the Southeast while working with veterans nonprofits including Operation Song, Freedom Sings, and A Soldier’s Child, helping service members turn their stories into songs. She rose to national attention as the runner up on American Idol, earning praise from judge Luke Bryan, who called her the “new age Miranda Lambert” and his “favorite female Country voice.” Since then, HunterGirl has amassed nearly 80 million global streams, made her Grand Ole Opry debut to standing ovations, and toured with Luke Bryan and Kimberly Perry, all while solidifying her reputation as a natural storyteller with a compelling point of view. Her Tennessee Girl EP showcased both range and heart, highlighted by fan favorites “Bad Boy” and “Ain’t About You,” and her release “Dirt” resonated widely for its vivid small-town imagery and emotional truth. Now, in 2026, HunterGirl unveils “Somewhere Wild,” a slow burning, windswept anthem that rekindles the sense of wide-open wonder she first felt exploring The Wilderness as a child. With a voice that feels both lived in and full of light, she continues to carve her own lane as one of country music’s most compelling new artists.

Code:Words Share New Single "Limerence"

THE ARTERY FOUNDATION recently announced that it had added CODE:WORDS to its roster.

Today, the band debuts its new single "Limerence."

Listen Below.

Vocalist John Dillon shares that the track is about "being caught in the grey area between something real and something imagined, and the mental spiral that comes with infatuation and uncertainty."

The band also has an upcoming show supporting Solely Veil at the Goldfield Trading Post in Roseville, California on January 17.

ABOUT CODE:WORDS:

When CODE:WORDS formed in Los Angeles in 2023, they did not arrive quietly. The band showed up with urgency and a sound that already felt lived in — like it had a past behind it, like they'd been a touring act for years before anyone was paying attention.

They first gained attention with "Wash the Blood," a debut that spread without a rollout or a manufactured moment. People found it on their own and kept passing it along. In just over a year, the band's catalog pushed toward two million streams — not on manufactured hype, but on repeat listens and slow-built loyalty.

Fronted by John Dillon, with Garrett Lowery and Max Codoceo, CODE:WORDS write from uncomfortable places: Obsession. Shame. Control. Emotional exhaustion. Nothing is exaggerated. Nothing is softened. The music is meant to make you feel something raw, and it leaves you uneasy in the best way.

The band's sound was shaped alongside producer Hiram Hernandez (Blessthefall, Honey Revenge). The approach is deliberate. Clear, and concise with one objective; Give you everything until, you feel it all.

ABOUT THE ARTERY FOUNDATION:
The Artery Foundation is a familiar name to hard rock fans. In 2025, the brand has rebooted and is a full service company. It's a label, artist management and producer management firm, among other things. During its 2010s heyday, the brand helped author the burgeoning metalcore scene, having been responsible for singing and breaking genre titans.

From the sweaty chaos of basements and VFW halls to the world's biggest festivals, Artery has helped guide talent from local notoriety to global recognition. The list of heavy music cornerstone acts that started with Artery speaks for itself" A Day To Remember, Motionless In White, Dance Gavin Dance, Beartooth, Sleeping With Sirens, The Amity Affliction, Asking Alexandria, The Devil Wears Prada, Our Last Night, Memphis May Fire, Fit For A King, The Plot In You, Attila, Attack Attack!, and more. 

In 2010, the company launched Artery Recordings, a label imprint that gave rise to breakout acts like Chelsea Grin and Kublai Khan TX. As Artery continued to expand, founder Eric Rushing concurrently deepened his influence on Sacramento's music and nightlife culture. His handiwork is evident in various live venues, restaurants, and bars.

MALEFIC Strike With “Blood Of The Throne,” A Ruthless Opening Statement From Impermanence

Blackened thrash force MALEFIC returns with ferocity intact on their new single, “Blood Of The Throne,” the opening salvo from their forthcoming full-length album Impermanence, due out February 13th, 2026 via Terminus Hate City. Pre-orders for Impermanence are available HERE. 

Starting the album with a bang, “Blood Of The Throne” is a blistering blackened thrash track driven by relentless high tempos and unyielding aggression. The song showcases each member of MALEFIC at their absolute limits, featuring extremely fast and precise guitar picking, overly ornate drumming, and a sharp command of leads, melodies, and harmonic interplay.

Lyrically, “Blood Of The Throne” confronts the struggles of capitalism and the systems of global control imposed on the masses. While its sentiment echoes the idea of slaying the monarchy, the focus is firmly on modern structures of power, including CEOs, members of Congress, and world leaders. Ironically, the song was originally written by former guitarist Cory, whose later political alignment moved in a drastically different direction. Despite that, the lyrics remain strikingly relevant, fitting both the desperation present in the music and the broader social climate. Regardless of where listeners fall on the American political spectrum, the message is clear. We all recognize the real demons in our society, we simply do not agree on the solution.

As a high-energy, hype-driven track, the band felt Impermanence had to begin with something uncompromising. “Blood Of The Throne” sends a clear message that MALEFIC is not here to ease listeners in. Originally intended to be the album title, the song instead lent its name and artwork to a four-song demo released on Bandcamp and later on cassette. Having existed since the band’s early days, the track has evolved significantly with the modern lineup.

The song builds tension through desperate, biting vocals before opening into a soaring melodic break reminiscent of classic 1980s heavy metal. It ultimately closes with a final verse and solo, turning what was once a somber, reflective ending into a decisive final statement. That choice reinforces the song’s core theme. Capitalism and global politics do not quietly fade out, they grind forward until there is nothing left.

A proven crowd-pleaser and one of the band’s favorite tracks to perform live, “Blood Of The Throne” is also among the most demanding songs in the MALEFIC catalog, particularly for the drummer and vocalist, due to the sheer intensity and density of every part.

About MALEFIC:
MALEFIC roared onto the Atlanta metal scene in 2007 with ambitions to modernize the black metal genre. With their tight riffs, tasty leads, and relatable lyricism, MALEFIC abandons cliches and defies traditional genre boundaries. Their special blend of black metal, drawing from thrash and death metal influences, appeals to metalheads across subgenres. They count OLD MAN'S CHILD, CARCASS, TESTAMENT, DISSECTION, and OPETH among their most prominent influences, offering a fresh, modern take on metal that is unrivaled in the United States.

Though they are set to release their very first full-length album, Impermanence, in 2025, MALEFIC boasts an impressive live performance history, having played shows with notable bands such as 1349, CRYPTA, and PROFANATICA. After a hiatus in 2009, the band eagerly picked back up where they left off and reformed with a new lineup. MALEFIC initially began work on Impermanence in 2018, taking their time to ensure that every detail accurately reflected their vision for their album. The band's hard work and dedication has culminated in a powerful debut, lovingly crafted by fans of nuanced, boundary-pushing music. 

MALEFIC lineup:
Jason Davila - Guitar
Aaron Baumoel - Drums, Vocals
Sam Williams - Guitar
Andy McGraw - Bass

SCHATTENMANN Unveil Title Track From Upcoming Album Endgegner

SCHATTENMANN usher in the new year with the release of Endgegner, the title track from their upcoming studio album. The song signals a decisive next step for the band and sets the tone for a new chapter in their musical journey.

With “Endgegner” [German for “Final Boss”], SCHATTENMANN present themselves sharper and more focused than ever. The track blends German-language metal with pronounced core elements, driven rhythms, and an unapologetic attitude. Crushing riffs, a powerful groove, and a commanding chorus turn the song into a statement piece that reflects both intensity and confidence.

As frontman Frank Herzig reveals:
"This song was my ultimate final boss! Never before has a track driven me so crazy, challenged me so much, and demanded so much from me. In the entire history of Schattenmann, there hasn't been a song that required so many versions and attempts. In the end, I am incredibly proud of it – especially because the path to the finished song was so rocky and because it offers so much both musically and lyrically. It grabs you immediately and doesn't let go until the very end: hard, loud, emotional."
 
Stream / Download the new single: https://schattenmann.rpm.link/endgegnersinglePR

“Endgegner” Tour 2026
30.01.2025 DE Nuremberg - Schattenspiele (w/ AESTHETIC PERFECTION & INDUCTION)

Tickets: https://www.eventim.de/artist/schattenmann/ 
VIP Upgrade Bundles: https://schattenmann.rpm.link/shopPR 

About SCHATTENMANN
Founded in 2016, Nuremberg-based band SCHATTENMANN have entered the metal world by storm! Pinnacling with their top 10 album Día de muertos in 2023, the quartet - singer Frank Herzig, guitarist Jan Shook, bass player Luke Shook & drummer Rorschach - paved their way with impactful songwriting but also with energising live shows. A thrilling combination which has resonated with a wide range of range (mostly) European metalheads so far. Sheer metal and continuous touring are the keys of why SCHATTENMANN have become one of the leading German ambassadors in the hard ‘n’ heavy universe within less than 10 years.
 
SCHATTENMANN are:
Frank Herzig | vocals
Jan Shook | guitars
Luke Shook | bass
Rorschach | drums
 
More on SCHATTENMANN:
schattenmann.band | Linktree | Facebook | Instagram | TikTok
Bandsintown | YouTube | Spotify | Apple Music

DEAD ANIMAL ASSEMBLY PLANT Roll Out New Single "Hearse"

Portland-based industrial outfit DEAD ANIMAL ASSEMBLY PLANT return with their new single "Hearse", a cheeky, high-energy bone shaker inspired by classic gallows humor and driven by relentless industrial force, available via Armalyte Industries. 

The track takes its cue from the haunting childhood rhyme, “Don’t ever laugh as the hearse goes by for you may be the next to die.” Embracing the dark humor of the line, DEAD ANIMAL ASSEMBLY PLANT transforms it into a frantic, stomp-along anthem that barrels forward with manic intensity and morbid fun.

“Hearse” features guest drums by Martin Atkins, a founding figure of the Chicago post-punk and industrial movement. Best known for his work with PUBLIC IMAGE LTD., MINISTRY, and KILLING JOKE, Atkins helped define the sound and attitude of modern industrial music. He is also the founder of Invisible Records, a pivotal imprint responsible for releasing and championing numerous underground industrial and experimental artists. His signature frenetic style underscores the song’s urgency and chaos, pushing the track into overdrive.

Adding another layer of ferocity is Glen Clarke, currently of VEER UNION and UNGOTHLY PLACES, and formerly of 2 SHADOWS, whose screams and growls inject raw aggression into the mix. The song also features a chilling spoken sample from John Kassir (aka the Cryptkeeper), alongside Z. Wager, delivering the titular line with unmistakable menace.

Anchored by relentless guitars and bass, "Hearse" is a high-energy march through the graveyard and a reminder of life’s brutal simplicity. In the end, we’re all just meat on the slab. Live it up or die trying.

About DEAD ANIMAL ASSEMBLY PLANT:
Formed in 2007, the Portland OR, USA, act began as a solo project by Zach Wager before evolving into a full band in 2011. Drawing inspiration from the likes of SLIPKNOT, PIG, NINE INCH NAILS, and ROB ZOMBIE, DEAD ANIMAL ASSEMBLY PLANT allow themselves to be experimental with their creative direction. The band use these influences along with a wide array of instruments and styles to create a distinctive sound, "I think the unique elements of our sound really stem from not trying to write any conventionally genre specific song. So whether it’s using theremins, sampling high tension wires, or anything we feel can add some personality to the song - nothing is off limits."

Over the course of their career to date, DEAD ANIMAL ASSEMBLY PLANT's notable appearances include Knotfest (2015), Wasteland Weekend (2018-2022, 2024), as support for COMBICHRIST on the Only Death is Immortal North American Tour (2024), along with headlining Hellfire Tour (2018, West Coast/Southwest Run) and Bring Out The Dead North American Tour (2019). DEAD ANIMAL ASSEMBLY PLANT have also created/performed multiple soundscapes for Belgian surrealist photographers, Mothmeister, at their art exhibits. 

DEAD ANIMAL ASSEMBLY PLANT is: 
Zach ‘Dead’ Wager (Vocals)
Rebecca ‘Buzz’ Wager (Guitars)
Nick ‘Nix’ Snyder (Bass)
Jason ‘Skorn’ Moore (Drums)

DISSENTIENCE Level Cities With Crushing New Single "Kaiju"

DISSENTIENCE has released "Kaiju," the ferocious title track from their forthcoming EP Kaiju, arriving February 20, 2026. The new single opens with an explosive riff that immediately sets the stage for total destruction and signals the band’s most cinematic and punishing material to date.

Driven by relentless D beat heavy verses, "Kaiju" channels the raw aggression of punk influenced Swedish death metal pioneers like ENTOMBED and GRAVE while maintaining a distinctly modern edge. Riff after riff pummels the listener, creating a synesthetic clash between sound and story as the lyrics depict a colossal monster leveling a fictional city. The massive groove of the chorus adds a new dimension. It is catchy enough to linger yet crushingly heavy, proving that brutality and memorability can coexist.

Midway through the track, DISSENTIENCE briefly eases the throttle with a tense guitar break before detonating into what may be the heaviest riff on the EP. A haunting and dissonant solo from guitarist Connor Valentin escalates the chaos before trading off into searing pentatonic shredding from Jimmy Vitale. Just when it seems the song might relent, the final section surges forward, building intensity with each repetition and culminating in absolute chaos as soaring vocals collide with pummeling drum fills and harmonized riffing.

With "Kaiju," DISSENTIENCE continues to push the boundaries of modern metal storytelling, blending technical mastery with vivid cinematic scope. Fans can expect a fully immersive experience when Kaiju drops in full on February 20, 2026.

Kaiju is a four track concept EP inspired by Japanese monster cinema and Lovecraftian horror. Produced by the band alongside Corey Pierce, the record was engineered by Matt Menafro at Peach Pie Sound, mixed by Zeuss, and mastered by Alan Douches. The EP will be released independently on digital and CD formats.

"Arrival" by Acidosis

When ACIDOSIS first tore through Miami’s underground, they were teenagers armed with cheap gear and unshakable conviction. Years later, Arrival revives those early songs not as a nostalgia act, but as a reclamation of origin. Frontperson Ben Katzman, after stints with GUERILLA TOSS, COLLEEN GREEN, and MANNEQUIN PUSSY, dug up the band’s high school material while searching for a spark and found a raw map back to the core. Together with guitarist DIEGO EDSEL, protégé-turned-ripper DEO BUDNEVICH, JONATHAN RUSTEN, and drummer HARRY SCHWARZ, ACIDOSIS re-recorded the set with sharpened intent, producer Ryan Haft at the console, and mastering by Howie Weinberg. The result is 26 minutes that feel like ignition.

“Arrival” opens with a galloping statement of purpose, the sound of a door kicking open. “They Live!” channels protest energy into speed and release, a punk-fueled surge that treats the pit as a place of solidarity. “Hostile Negotiations” turns internal conflict into a whiplash sprint, riff after riff challenging the voice that says stand still. Between the shocks, “Interlude I” offers a moonlit breath, a reflective guitar-and-bass vignette co-written by Katzman and Budnevich that frames the record’s stakes.

“Tied To The Tracks” is the catalyst, born from teenage betrayal and redirected into forward motion. It remains a Florida-cult favorite for a reason, a chorus built to be shouted back. “Mankind” hammers like machinery, a critique of profit over people with a rhythmic heft that nods to METALLICA while staying firmly ACIDOSIS. “Interlude II” primes the descent into “Deadly Fits,” a Sabbath-by-way-of-ANTHRAX rocker about self-worth and refusing desperation. Closer “Where I Stand” starts with acoustic introspection, then ascends into harmonized leads that salute CACOPHONY and the precision grind of MEGADETH, wrestling with confusion and conviction before landing on resolve.

At the heart of Arrival is a mentor and a student becoming bandmates. Katzman met Budnevich when he was 14, taught him the language of the riff, and then brought him on tour. That Ozzy and Randy dynamic powers the record’s spirit, a passing of the torch that never dims the original flame. Visuals by Juan Montoya of TORCHE and layout by Perry Shall lock the aesthetic to the music’s lineage, bright Miami strangeness meeting steel-edged classicism.

Arrival plays like a single arc. Hooks on guitars, bass, and vocals sync into a series of decisive moments, each song advancing the same narrative of pressure, reflection, and release. Fans of METALLICA, ANTHRAX, SUICIDAL TENDENCIES, MUNICIPAL WASTE, KING DIAMOND, RAMONES, HELLOWEEN, POWER TRIP, KREATOR, D.R.I., NEGATIVE APPROACH, MISFITS, and TORCHE will hear a throughline of devotion to craft and impact. The point is not retro worship. The point is remembering why this started and proving that it still matters. ACIDOSIS arrives again with Arrival, a concise, kinetic reminder that will to rock is not a phase, it is a compass.

“Tied To The Tracks” is the catalyst, born from teenage betrayal and redirected into forward motion. It remains a Florida-cult favorite for a reason, a chorus built to be shouted back. “Mankind” hammers like machinery, a critique of profit over people with a rhythmic heft that nods to METALLICA while staying firmly ACIDOSIS. “Interlude II” primes the descent into “Deadly Fits,” a Sabbath-by-way-of-ANTHRAX rocker about self-worth and refusing desperation. Closer “Where I Stand” starts with acoustic introspection, then ascends into harmonized leads that salute CACOPHONY and the precision grind of MEGADETH, wrestling with confusion and conviction before landing on resolve.

At the heart of Arrival is a mentor and a student becoming bandmates. Katzman met Budnevich when he was 14, taught him the language of the riff, and then brought him on tour. That Ozzy and Randy dynamic powers the record’s spirit, a passing of the torch that never dims the original flame. Visuals by Juan Montoya of TORCHE and layout by Perry Shall lock the aesthetic to the music’s lineage, bright Miami strangeness meeting steel-edged classicism.

Arrival plays like a single arc. Hooks on guitars, bass, and vocals sync into a series of decisive moments, each song advancing the same narrative of pressure, reflection, and release. Fans of METALLICA, ANTHRAX, SUICIDAL TENDENCIES, MUNICIPAL WASTE, KING DIAMOND, RAMONES, HELLOWEEN, POWER TRIP, KREATOR, D.R.I., NEGATIVE APPROACH, MISFITS, and TORCHE will hear a throughline of devotion to craft and impact. The point is not retro worship. The point is remembering why this started and proving that it still matters. ACIDOSIS arrives again with Arrival, a concise, kinetic reminder that will to rock is not a phase, it is a compass.

About ACIDOSIS

ACIDOSIS is a heavy metal band originally formed in Miami by Ben Katzman and Diego Edsel during high school. Rooted in thrash, punk, and traditional metal, the band channels the spirit of teenage rebellion through sharpened musicianship and a love of riffs that hit hard and stay stuck in your head. Now based in Los Angeles, ACIDOSIS has evolved into a multigenerational lineup that includes Katzman’s former guitar student Deo Budnevich, who began touring with the band at 14 and now shreds alongside his mentor.

Known for chaotic live shows, politically-charged lyrics, and hook-driven songwriting, ACIDOSIS has shared the stage with acts like D.R.I., NEGATIVE APPROACH, and the JERRY ONLY MISFITS. After years of hiatus and other musical ventures, Katzman resurrected the band with renewed fire, recording the long-overdue debut Arrival, a collection of songs originally written in high school and reimagined with full force.

ACIDOSIS blends the power of early METALLICA and ANTHRAX with the urgency of MUNICIPAL WASTE and the melodic sensibilities of classic IRON MAIDEN. With art by JUAN MONTOYA (TORCHE) and design by PERRY SHALL (GREEN DAY, BLACK KEYS), the project is a full-circle realization of the band's past, present, and future.

This is riff worship without irony. Punk speed without slop. Metal hooks without ego. ACIDOSIS is built to shred, sweat, and scream until the tape runs out.

ACIDOSIS is:

  • Ben Katzman – Bass / Vocals

  • Diego Edsel – Guitar

  • Deo Budnevich – Guitar

  • Jonathan Rusten – Guitar

  • Harry Schwarz – Drums

SISTER KILL CYCLE Unleashes A Dark, Industrial Reckoning of CCR's Classic “BAD MOON RISING”

SISTER KILL CYCLE is back—and this time, they’re staring straight into the storm as they take the iconic Creedence Clearwater Revival classic song and is reborn as a crushing anthem for uncertain times.

The industrial rock provocateurs have released a ferocious new cover of “Bad Moon Rising,” transforming the legendary CCR anthem into a menacing, modern-day prophecy drenched in distortion, grit, and raw intensity. Where the original warned of trouble on the horizon, SISTER KILL CYCLE turns that warning into a full-scale sonic uprising.

From the first pulse to the final note,

“Bad Moon Rising” is reimagined through the band’s signature blend of industrial aggression, dark atmospheres, and unrelenting rhythm.

Grinding guitars collide with pounding electronics, while the vocals deliver the song’s ominous message with a snarling urgency that feels eerily relevant in today’s fractured world.

SISTER KILL CYCLE has long been known for pushing boundaries and refusing to play it safe, and this release is no exception. By taking a timeless rock classic and injecting it with industrial firepower, the band bridges generations—connecting the paranoia and unrest of the past with the volatile energy

of now.

Perfect for fans of hard-hitting industrial rock, dark alternative, and fearless reinterpretations, “Bad Moon Rising” stands as both a tribute and a warning: the moon is rising, the tension is building, and SISTER KILL CYCLE is here to soundtrack the fallout.

APPLE MUSIC

YOUTUBE

'Winter Movement' EP by Matt Wilier out Now

Matt Wilier began improvising on piano at the age of 5, with no knowledge of music other than his own feelings and sensations. After practicing for a few years, it was at the music conservatory that he discovered technique and then classical music.

From the age of 12, he would fall asleep listening to Keith Jarrett’s solo piano albums, including ‘The Köln Concert’ and ‘La Scala’. During the same period, after having studied the Romantics (and Chopin’s rubato), he was captivated by impressionist music and became fascinated by the French movement ‘Les Six’. But ultimately, he considers ‘Gaspard de la Nuit’ by Maurice Ravel to be one of the most beautiful piano works.

While retaining his initial desire for improvisation, he threw himself into minimalist and repetitive music, freeing himself from judgement and taking an interest in sonic resonances, frequencies and vibrations of the piano as proof of the passage of time.

In 2019, he released his first EP ‘Jours’, a collection of older improvised recordings, and chose to regularly release tracks resulting from his process of creation with the French label, Bruit Blanc.

‘Variations’, his 11-track album, was released on 28th June 2024. The recording of this album was no exception, with Matt once again focusing on resonances. ‘Variations’ is built in the same way, with changing melodies, harmonies and rhythms.However, this time the piano is not alone, with strings, string layers, ensemble and analog bass frequencies as accompaniment.

This album is built like an original movie soundtrack. Images flash by as you close your eyes and listen to it.

In September 2024, he recorded some solo piano tracks after a series of improvisational recordings, which he released in short bursts: 'Burning Through The Ground' and 'A Suspended Moment' (a two track EP which also included 'My Hand Lovingly Caressed Her Face, She Awoke Softly And Fixed Her Gaze Upon Mine').

Feb. 28, 2025 - He releases two versions of the song “Together”, one of which was recorded in a train station while waiting for departure time. In the studio, he added powerful strings, giving this track two very different worlds, as two people can be to each other.

'Music For Mass' (July 2025) is a 5-tracks EP without piano but strings and Church Organ ; 'The Chrysalis Awakes' (Aug. 2025), a live improvised version of a song played during his concert at Piano Revenge Festival, 1st Edition, in Paris in June 2025.
 
After a collaboration with the piano neo-classical label AD21 and its compilation 'Autumn Sketches, Vol.1' of original piano works - 'Promises' composed by Matt - Matt released 'Playing with Light' EP and then, 'Winter Movement'.
 
'Winter Movement' was recorded a year ago in the French Alps while it was snowing. But the timing wasn’t right to release it as spring was already approaching. This EP isn’t sad, but it invites the kind of introspection that snowy mountains inspire.

New Single Vianova -Remix

vianova continue their rise with the release of their new single and collaboration "Oh No (Ando San Remix)." 

Following a breakthrough year that firmly established them as an exciting new forces in heavy music, the band now pushes it sound into fresh territory with a bold and modern reinterpretation of one of its standout tracks.
 

The Ando San Remix injects "Oh No" with a new pulse, blending vianova's trademark heaviness and emotional intensity with electronic textures and club-driven energy, while preserving the raw impact that has fueled the band's rapid ascent. The result is a dynamic crossover moment that highlights vianova's openness to experimentation and their instinct for forward-thinking collaborations.
 

vianova's momentum has been nothing short of explosive.

Their debut album has already amassed over 10.5 million streams worldwide, resonating deeply within the modern metalcore scene and far beyond. Capping off this breakout run, the band were recently honored with the Nik Nocturnal Award for Best Breakthrough Band of 2025, a milestone that underlines their growing influence and visibility on an international level.


With "Oh No (Ando San Remix)," vianova once again prove that they are not content to stand still. Confident, ambitious, and constantly evolving, the band continues to redefine what modern metalcore can sound like – and its trajectory shows no signs of slowing down.

Catch the band live in 2026 — more info about vianova's EU shows here and UK shows here. 

VIANOVA U.S. 2026 TOUR DATES:
SUPPORTING THORNHILL:
 5/1 — Los Angeles, CA — El Rey Theatre
5/2 — Sacramento, CA — Ace of Spades
5/4 — Phoenix, AZ — The Van Buren
5/6 — San Antonio, TX — Vibes Event Center
5/7 — Dallas, TX — The Studio at The Bomb Factory
5/8 — Houston, TX — Warehouse Live Midtown
5/10 — Daytona, FL — Welcome To Rockville (Festival)
5/11 — Atlanta, GA — Variety Playhouse
5/13 — Charlotte, NC — The Underground
5/14 — Norfolk, VA — The NorVa
5/15 — Philadelphia, PA — Brooklyn Bowl
5/17 — Columbus, OH — Sonic Temple (Festival)
5/18 — Baltimore, MD — Baltimore Soundstage
5/19 — Boston, MA — Royale
5/20 — New York, NY — Webster Hall
5/22 — Toronto, ON — The Opera House
5/23 — Detroit, MI — The Majestic Theatre
5/24 — Chicago, IL — The Vic Theatre
5/26 — Englewood, CO — Gothic Theatre
5/27 — Salt Lake City, UT — The Complex
5/29 — Portland, OR — Roseland Theatre
5/31 — Seattle, WA — The Showbox

More info about vianova's U.S. shows here.

New Single Doomcrusher

German metalcore force Doomcrusher continue their ascent with the release of their brand-new single "Odyssey." Forged in an atmosphere shaped by uncertainty and upheaval, the project was created with a clear purpose: To push against stagnation and channel heaviness into something powerful, focused, and forward-moving.
 

Founded by Andy Posdziech (Any Given Day) alongside Jean Bormann (Rage), Marv Kinkel, and Rob Lee, Doomcrusher combine stomping, heavy mid-tempo industrial riffs with uncompromising guttural vocals that resolve into expansive, uplifting hooks. Layered electronic elements add depth and tension, creating a modern metalcore sound that feels both massive and controlled while staying firmly rooted in metal's foundations.
 

With "Odyssey," Doomcrusher take their next decisive step, expanding their sonic scope while maintaining the crushing intensity that has defined the project from the start. Following the strong response to their first releases"Breakout," "Reflect," and "Adrenaline," featuring Any Given Day, the band has already surpassed 1.2 million streams worldwide with only three singles — a remarkable foundation for a project still in its early stages.


Driven by a clear artistic vision and an uncompromising approach, Doomcrusher are not simply adding another chapter to their story with "Odyssey" — they are continuing a deliberate exploration of modern heavy music, proving that intensity, atmosphere, and ambition can co-exist at full force.

ANTI-SAPIEN Release New Single "At the Mercy of the Merciless," Announce New Album

Atlanta’s crust smeared death metal unit ANTI-SAPIEN return with their new single “D.E.A.D.”, a track that highlights the band’s punk, hardcore and crust influences. Built on a mosh friendly intro, a fast d-beat verse and sharp higher register vocals, “D.E.A.D.” taps into the band’s love of filthy crust and NYDM style slam riffs. The song breaks away into a vicious party slam section complete with vintage 808 bass drops, showcasing the band’s ability to merge primitive heaviness with energetic hooks.

“D.E.A.D.” stands for “Do Everything All Day”, an acronym coined by a longtime friend of Blake over twenty years ago. The song’s theme reflects the idea that too much of life is wasted on worry, stagnation and unfulfilling obligations. ANTI-SAPIEN use the track to champion a philosophy of living fully and deliberately, honoring the dreams of loved ones who are no longer here and refusing to get caught in cycles of empty distraction.

The band notes that “D.E.A.D.” has quickly become one of their strongest live songs. Audiences respond instantly to the opening mosh part, and the track’s position as the start of Side B of the upcoming EP is intentional. Written with a side A and side B mindset, the song is meant to reintroduce listeners with a surge of energy and leave them wanting more as it barrels into a double bass driven solo and breakdown finale.

The EP At the Mercy of the Merciless arrives January 16 on Terminus Hate City. It is the second official recording from ANTI-SAPIEN and continues the band’s growth as purveyors of crust smeared death metal. The members bring decades of experience across grind, death metal and classic metal projects and write specifically to support the unique tone set at the band’s inception: fun and catchy, but grimy, sweaty and raw. Written throughout their touring schedule, the EP reflects the band’s evolution into more complex riffing and structures while preserving the primitive, oozing character that defines their sound. Pre-orders are available HERE. 

About ANTI-SAPIEN:

ANTI-SAPIEN formed in Brooklyn in 2021 and grew quickly from a loose pandemic experiment into a touring force known for filthy death crust riffs, sweat soaked shows, and a message that cuts through the noise. The band began as a way for friends to blow off steam and write ugly, fun songs that blended their love of D beat punk, death metal, grind, and the classic New York slam tradition. What surprised them was how quickly audiences connected to not only the heaviness but the honesty. Kids responded to the riffs but also to the moments between songs where the band spoke openly about inequality, exploitation, and the systems that grind people down. That connection pushed ANTI-SAPIEN to take the project further, tighten their sound, and hit the road hard across the United States and eventually through Australia, Korea, and Japan.

Over time the band’s lineup shifted into the current form of Blake Charlton, Alex Fewell, Ryan Murphy, and Nathan Rand, all seasoned musicians with long histories in heavy music. Their combined backgrounds in bands like Ramming Speed, Black Mass, Soul Remnants, and others helped shape the sound into something both raw and disciplined, equal parts crust punk grit and death metal precision. They have played festivals like NEDM Funtime Bonanza and the NYDM International Fest, building a reputation for fast sets, filthy tones, and a refusal to shy away from uncomfortable truths.

ANTI-SAPIEN operate with a clear sense of purpose. They are proudly anti fascist, openly political, and committed to calling out abuses of power while keeping their shows rooted in community and catharsis. The band writes music that is catchy and disgusting, equal parts sewer filth and adrenaline, and they deliver it with the conviction of people who believe heavy music can be fun while still saying something worth hearing. Audiences continue to grow each tour, fueled by the band’s willingness to merge riffs, rage, humor, and a perspective shaped by lived experience.

ANTI-SAPIEN is:

Blake Charlton – Guitar and Lead Vocals
Alex Fewell – Drums
Ryan Murphy – Bass and Backup Vocals
Nathan Rand – Lead Guitar

Connect with ANTI-SAPIEN:

Website: terminushatecity.com
Bandcamp: https://anti-sapien.bandcamp.com/music
E Shop: https://anti-sapien.bandcamp.com/merch
Facebook: https://www.facebook.com/AntiSapienBand/
Instagram: https://www.instagram.com/antisapienband/
YouTube: https://www.youtube.com/@antisapienband
Spotify: https://open.spotify.com/artist/4qq4lPjBPdNmudoOk1CfRZ
Apple Music: https://music.apple.com/us/artist/anti-sapien/1679779909

COLIN STOUGH’S VULNERABLE NEW BALLAD “BEST FOR YOU” AVAILABLE NOW –

19 Recordings/BMG Nashville artist Colin Stough gets vulnerable on his brand-new ballad, “Best For You,” out now. Penned by Stough along with Phillip Kane, the new track slows the pace after the up-tempo energy of “White Trash” and his recent release, “20 Bucks.” With growing streaming momentum, a rapidly expanding fanbase, and strong engagement across socials and live shows, the Mississippi native and American Idol finalist’s newest release offers a heartfelt, country lyric as it mines his emotional depths. Stough shared the story behind the song and an intimate acoustic performance live last night on Instagram.

 

“This song’s about loving somebody and watching ’em walk away like it’s nothing, but still wanting the best for them,” shares Stough. “Now felt like the right time to release this since the seasons are changing and y’all were begging me on socials to drop it. Hope y’all like it.”

“Best for You” by Colin Stough is a raw, heart-on-the-sleeve country ballad about loving someone enough to let them go. Through imagery of airplanes, streetlights, and unanswered calls, the lyrics paint the pain of watching someone move on while you’re still stuck in the hurt. Even as he admits he keeps coming back and can’t numb the heartbreak, the chorus lands on a powerful truth: no matter how bad it gets, he doesn’t wish her ill will. In the end, the love stays unconditional. He still wants the best for her, even if it breaks him.

About Colin Stough

Born and raised on the Mississippi-Alabama line, 21-year-old Colin Stough was brought up on Southern rock and second chances. A self-taught guitarist and gravel-voiced storyteller influenced by The Allman Brothers, Conway Twitty, and Koe Wetzel, he first picked up a guitar at age eight, later trading in his prized possessions for a pawn shop acoustic — one he still plays today. After high school, he worked full-time as an HVAC tech until his mom pushed him to audition for American Idol Season 21. That leap launched a life-changing ride: a standout third-place finish, a deal with 19 Recordings / BMG Nashville, and breakout songs like “Sober,” “’Til The Day One Does,” and 2025’s hard-edged anthem, “White Trash.”

With a skinned-raw vocal and lyrics carved from lived experience, Stough has built a loyal following of over 800k across social platforms. His EPs Promiseland and Lookin’ For Home offer a no-frills portrait of a young man navigating life with Southern grit, and his recent releases, “White Trash,” “20 Bucks,” and “Best For You,” keep with the no-holds-barred, hold-nothing-back theme. On the road, he’s opened for acts like Chase Matthew, Drake White, and Kidd G, and is continuing to build his live show through 2025. A student of Skynyrd and the outlaw spirit, Stough isn’t chasing trends — he’s telling the underdog’s truth, one song at a time.

KEEP UP WITH COLIN STOUGH
WEBSITE | FACEBOOK | INSTAGRAM | TIKTOK | YOUTUBE

BLAZONER Announces First Single "I'm In Love With My Car" From Upcoming Covers EP Sonic Chambers

Fredericksburg, Virginia heavy rock trio BLAZONER has released "I'm In Love With My Car," the first single from their upcoming covers EP Sonic Chambers, due out February 13, 2026. The track offers an electrified and harmony rich reinterpretation of the classic QUEEN deep cut.

The band approached the recording with a mix of respect, intensity, and playfulness. Drummer Andy Murray takes the lead vocal, a nod to Roger Taylor’s original performance, while Brian Carnes and Stephen Sullivan join him to build thick, layered choruses that showcase the trio’s signature multi vocal sound. The band recorded an extensive number of vocal tracks to capture the fullness and dramatic lift that makes the original song such a standout. Longtime friend and producer Jeff Covert helped guide the arrangement and brought extra clarity and dimension to the performance.

"I'm In Love With My Car" marks the first look at Sonic Chambers, a collection born from a spontaneous decision to record a few favorite covers in the studio. What began as a simple session quickly evolved into a five track EP that celebrates the music that shaped BLAZONER’s sound and spirit. The single highlights their ability to blend heavy rock power with melodic precision while staying true to the emotional core of the source material.

Listen Below;

About BLAZONER:

BLAZONER is a heavy rock power trio from Fredericksburg, Virginia, built on the belief that loud music should feel both massive and melodic. The band leans into thick, saturated riffs, driving rhythms, and vocal harmonies that hit as hard as the instruments behind them. Their sound blends the grit of stoner rock, the pulse of classic heavy rock, and the swirling textures of psychedelia, creating a style that feels raw, hook driven, and unmistakably their own.

Formed by Andy Murray, Brian Carnes, and Stephen Sullivan, BLAZONER is powered by the natural chemistry the three share when they play together. Every member sings, which gives the band a vocal identity rarely found in heavy music. Whether delivering gritty leads or layered harmonies, the voices of all three members work together to add color and emotion to the band’s thick wall of sound. The result is a blend of heaviness and melody that stands out both live and on record.

BLAZONER came out of the gate with a commitment to playing hard, writing often, and letting instinct lead the way. Since releasing their first music in 2023, the band has grown quickly through high energy performances that showcase their volume, intensity, and connection as performers. Crowds respond not only to the weight of the riffs and the immediacy of the songs, but also to the sense that the band is having as much fun onstage as anyone in the room.

Their music reflects a wide range of influences, yet everything is filtered through the same core approach. Play loud, play with purpose, and make songs that feel alive. Whether crafting originals or reimagining the tracks that shaped them, BLAZONER focuses on movement, emotion, and the thrill of a great groove hitting at full power.

BLAZONER continues to evolve as they write, record, and perform, always pushing toward a heavier, tighter, more expressive version of their sound. For the band, heavy music is more than a style. It is energy, teamwork, and a constant exploration of what three people can create when they trust every instinct and hold nothing back.