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Press Release Roundup: May 11

posted May 15, 2018, 12:24 am by Carlita | Filed Under Music News, Press Release Roundup, Releases | comment Leave a Comment

Music journalists get hit with a steady helping of press releases every day. For the music fan without that kind of sensory overload, a lot of music news can pass by without being seen. Every Friday, we will weed through and compile a list of some of the most intriguing press releases to come across our virtual desk.

Enchanted Forest


Enchanted Forest Gathering just dropped its 2018 lineup including its usual dose of high-octane EDM performers and a more substantial array of diverse talent ranging from hip-hop to reggae, soul, and jam in 2018. The annual camping event will feature live performances from Beats Antique, Keys n Krates, Graves, Ozomatli, Dumpstaphunk and Del the Funky Homosapien w/ Amp Live, Lyrics Born, Truth, Mark Farina, Antennae, Sticky Buds, Phutureprimitive and over 100 nationally renowned acts, over three days this summer.

From the throbbing bass of The Grove to the soulful roots of The Knoll, music fills the air at Enchanted Forest. Whether you’re splashing to the bouncy beats at the Saucy Spa or grooving to local tunes at the Summertronica Lounge, there is more than great music at this great festival including daily yoga, workshops and even daycare at Kidslandia – a unique family supported aspect of the weekend camping event. More like an adult utopia on the edge of the redwood forest, this is one of the events that make the California music scene unique.

To get tix, click HERE!

Jazz FM Awards


This evening’s Jazz FM Awards, which took place at Shoreditch Town Hall in East London, featured a rollcall of music industry stars including Dame Cleo Laine, George Benson, Corinne Bailey Rae, Thundercat, Tito Jackson, Esperanza Spalding, Pat Metheny, Kamasi Washington, Omar, Stewart Lee and more, for the annual celebration of the very best of jazz, soul and blues.

Taking place on UNESCO’s International Jazz Day, and hosted by Jazz FM presenters Chris Philips and Jez Nelson, the event’s fifth outing featured performances from an all-female, cross-generational line-up of established acts and rising stars. Celebrated US vocalist Cecile McLorin Salvant delivered a spellbinding performance following her International Jazz Artist of the Year win, while multi-Grammy award-winning US bassist and vocalist Esperanza Spalding, who won Digital Initiative Of The Year, and 26-year old London-based saxophonist Nubya Garcia, who was named as the Breakthrough Act of the Year, electrified the audience with their exclusive performances, accompanied by British pianist and the evening’s Musical Director Ashley Henry. The matriarch of British vocal jazz, Dame Cleo Laine DBE brought the evening to a fitting finale as she collected the prestigious PPL Lifetime Achievement Award, which she followed with a surprise rendition of “I’ve Got A Crush On You”.

Legendary guitarist and singer-songwriter George Benson was presented with the Impact Award by founding Jackson 5 member Tito Jackson whilst million-selling jazz guitarist Pat Metheny was in town to collect the PRS for Music Gold Award in recognition of his exceptional contribution to jazz performance, composition and education. Musician and DJ Goldie, a self-proclaimed jazz enthusiast, was on hand to congratulate Metheny:

“I’m really happy you’re getting this award; you’ve been a massive inspiration to people around the world, and especially to me. Who would have thought… Goldie’s drum and bass music, all my arrangements, all my ideas were looking at your music over the years and listening… The whole world of you Pat has been amazing. God bless and keep going man!”

The popularity of the UK’s thriving young jazz scene, which continues to receive widespread international praise, was reflected this year with wins for explosive five-piece Ezra Collective, who collected two awards for UK Jazz Act of the Year and Live Experience of the Year, pioneering saxophonist and clarinetist Shabaka Hutchings, who picked up the Jazz Innovation of the Year honour for his multiple award-winning projects including the fiercely popular Sons of Kemet, who’s debut major label release Your Queen Is A Reptile was released on impulse! Records in March, while Zara McFarlane fought off stiff competition to reign supreme as Jazz FM’s Vocalist of the Year for the second time since receiving the honour in 2015.

International winners on the night included genre-defying bassist Thundercat, whose critically acclaimed Drunk was voted Album of the Year, Robert Cray for International Blues Artist Of The Year and Moonchild for International Soul Artist Of The Year.

The full list of winners is as follows:

Breakthrough Act of the Year

Sponsored by Yamaha

Nubya Garcia

International Soul Artist of the Year

Sponsored by RCS


UK Jazz Act of the Year (Public Vote)

Sponsored by Cambridge Audio

Ezra Collective

Digital Initiative of the Year

Sponsored by Oanda

Esperanza Spalding: Exposure

Instrumentalist of the Year

Sponsored by Grange Hotels

Evan Parker

International Blues Artist of the Year

Sponsored by British Airways

Robert Cray

Jazz Innovation of the Year

Sponsored by Mishcon de Reya

Shabaka Hutchings: Multiple projects

Vocalist of the Year

Sponsored by Lateralize

Zara McFarlane

International Jazz Artist of the Year

Sponsored by Oris Watches

Cécile McLorin Salvant

Album of the Year (Public Vote)

Sponsored by Arqiva

Thundercat – Drunk

Live Experience of the Year (Public Vote)

Sponsored by Rathbones

Ronnie Scott’s presents Ezra Collective – EFG London Jazz Festival at Islington Assembly Hall

PPL Lifetime Achievement Award

Recipient: Dame Cleo Laine

Impact Award

Sponsored by MediaCom

Recipient: George Benson

PRS for Music Gold Award

Recipient: Pat Metheny

Louise Golbey


Following the release of the Deluxe Edition of her ‘Love It Or Leave It’ EP – Louise’s new single ‘Still’ is a powerful soulful pop ballad co-written with and produced by Ross O’Reilly (Stealth, Suits) and will be released on Friday 20th April just in time for Record Store Day.

Having played alongside Ed Sheeran at one of his very first London gigs at Kentish Town’s iconic Abbey Tavern and also at his last surprise intimate show at The Green Note in Camden, singer/songwriter Louise Golbey has built up an impressive reputation over the last few years.

Louise is an established artist and has shared the stage with many big names such as Katy B, Jessie J, Sam Smith, Paloma Faith, Liane La Havas and Mr Hudson to name a few.

She has worked on tracks with Example and Newham Generals (signed to Dizzie Rascal’s Dirtee Stank label).

She was recently Caffe Nero’s Artist of The Month (following Jack Savoretti) and has had radio support from BBC Radio 2, Radio 1Xtra, BBC 6 Music, BBC London, Jazz FM and Mi-Soul.

She is also one of the most in-demand openers on the UK Live circuit, Louise has performed to 6,000 people ahead of the legendary George Benson at a Kenwood House Picnic Concert, landed support slots for En Vogue and Roberta Flack at the Indigo2, a sold out UK tour with The Stylistics, Roy Ayers, Omar and Kenny Thomas and Barack Obama’s favourite artist – Anthony David at Bush Hall. She has played at Isle of Wight Festival and Glastonbury (on the BBC Introducing stage), recorded at Maida Vale studios and has performed at legendary venues such as Ronnie Scotts, the Jazz Cafe & the London Jazz Festival.



The italian musician, Deejay and art director “oZZo” (stage name for Ivano Tomba) has released is first EP album #pastislost, anticipated by the single “As fast as you can”, the first of the six tracks (5 original songs and a cover) included on the EP.

#pastislost has been arranged and produced by oZZo with Jacopo Festa and all the songs have been performed by Alessio Corrado (Jellygoat-Mighty Dogs), lead singer and co-author of the lyrics.

With this new project, oZZo aims to blur the lines between Deejay and musician, using his years of experience in both role and his interest in experimentation, which is expressed here through the intersection of rock and electronic music.

The songs make up a sort of psychological concept album, which revolves around obsession about time passing and our difficult relationship with the past, that gives rise to our frailties in the present.

Some frames of a love story are the starting point of an inner journey whose places are the six tracks of #pastislost. “As fast as you can” describes the struggle with the self to move away from memories, whereas in “Change”, the most rock-oriented song, anger prevails over melancholy. “I let you get in” is the endless “dance” of remorse and regret. Then “Choices”reaffirms the inability to erase the past, despite a willingness to move forward.

“Nothing but you” is described by oZZo and Alessio Corrado as «Our “Sad but true”- The Picture of Dorian Gray” ». A song that talks about fear of looking inward to face your demons.

The fascinating journey ends with “Crazy”, cover version of Seal’s hit single, that brings out the distinctive oZZo’s Style.

Giraffes? Giraffes!


Today, we finally get the chance to share Memory Lame by Giraffes? Giraffes! with the world – an album we are so honored to have had the chance to work on releasing! Set aside some time out of your day for an instrumental 6-track journey of sound.



Charlion makes swinging, clear beats in a big musical environment. Their upcoming album is based around 80s synthesizers while their previous guitar division has been scaled down a bit, resulting in a mash-up between indie rock and synthpop, with a touch of a proper bundle of self-distance.

In 2017 the band released the single “Meanwhile In Heaven” which was charted on the Viral 50 list on Spotify Sweden. Earlier they have also won the radio competition “P3 Osignat” which is a prestigious competition for unsigned artists on one of Swedens biggest radio stations. The win led to gigs in Germany, Belgium and Lithuania. In addition to that, Charlion has also played in the United States.



California-based, Billboard chart-topping hard rockers MOTOGRATER recently announced their upcoming spring and summer “Desolatour” dates, set to begin on May 6 in Las Vegas, NV. The tour will run through July 7 when the band performs at Mosh Out to the Masses festival in Muncie, IN. See below for all currently confirmed tour dates.

In advance of the tour, MOTOGRATER is pleased to reveal a music video for their hard-hitting, melodic anthem “Daggers”. The track can be heard on the band’s 2017 full-length release, Desolation, released via Megadeth bassist Dave Ellefson’s EMP Label Group. Watch the video, directed by Matt Lord Zane in Los Angeles,now via Loudwire:

Guitarist Matthew “Nuke” Nunes says, “Firstly, we would have never been able to pull this off without the support of Mikey Doling at JaxxRock Ent and Angel Chavez at DW Drums. Shooting the “Daggers” video was a great experience all around. We are very proud of what we were able to accomplish. The director Matt Lord Zane and crew – especially the amazing Laney Chantal (makeup/paint) – were nothing short of incredible to work with. We would be remiss to not give a huge shout out to Mike Tempesta at Jackson EVH for loaning us the awesome amps and heads. MOTOGRATER is truly excited to show the world something we feel is a true piece of art. See you on the road soon!”

MOTOGRATER Desolatour dates:
5/15 – Lewiston, ID @ 3rd Wheel
5/16 – Eugene, OR @ W.O.W. Hall
5/18 – Fresno, CA @ Full Circle Brewery
5/19 – West Hollywood, CA @ The Viper Room
5/20 – Fullerton, CA @ Slidebar
6/2 – Pipestem, WV @ Metal In The Mountains
6/16 – Danville, IL @ Slang Metal Fest @ Shovelhead Saloon
7/7 – Muncie, IN @ Mosh Out The Masses @ The Water Bowl

Emay Holmes

emay cd

Emay Holmes has been busy since the release of his debut single, “The Deployment Song”, with its video that caught the hearts of service members and civilians alike, gaining over 7.5k Facebook shares. A deployment aboard USS Nimitz took Emay across the globe and away from the studio for a large part of the following months. He’s now back on firm land and excited to release his debut EP, Deep Down, on June 1. The title track is out today to give fans a final taste of the record.

Emay Holmes lives a double life. By day he launches F-18 fighter jets from the flight deck of USS Nimitz and at night he takes his maple-topped Martin acoustic into ‘a rusty little corner of the boat’ to craft a unique brand of heart wrenching soul music.

Growing up in Houston, TX, Holmes found himself drawn towards the poetic side of rap; in fact it was his poetry that first gained him a devoted audience on Instagram. Recently this account has become host to a series of short video performances in which Holmes, surrounded by iron pipework, delivers poetic lyrics in his timeless baritone backed by a distinctive acoustic picking style.

These videos are now taking full-form as Emay’s debut album Deep Down. Written both out to sea, as well as back home in Houston, Texas, through these 10 cuts Holmes takes the listener on a journey through acoustic soul, poetic blues, and six-string slow jams. Each track showcasing Holmes’ unique talent for narrating life’s ebbs and flows. Emotions are bought into sharp relief for Emay every time he prepares for military duty. He wrestles with the heartache of building relationships then having to up sticks,… of falling into a comfortable routine and the rude awakening that will face him back on the boat. In conversation he puts it more directly; “It sucks”. It is this ability to transform the harsh realities of life from “It sucks” into the 3-minute gut punch that is The Deployment Song that makes Holmes so rare.

The journey is just beginning for Emay Holmes and now is a great time to get on board.

“Deep Down” is a soulful ballad that talks about a dysfunctional relationship that is strained by the couple’s mindsets. “Mama said I could better, Mama said read them red letters. But I’m goddamn hard-headed, and you’re so goddamn hard-hearted.” Check out his new single on Soundcloud and follow him on his social media.



Berlin’s beloved techno-wizard NHOAH shares highly anticipated debut LP titled ‘West Berlin’ scheduled for release on April 13th via R.O.T respectortolerate Records. This follows recent EP victories, Abstellgleis zu Remixen and 120 Red Skies zu Remixen, both featuring outstanding remixes from the likes of 808 State, µ-Ziq, Pixelord, Peter Zirbs and Mieko Suzuki, skilled electronic producer NHOAH has delivered an already stable flow of singles and remixes capturing the hearts of many. Reputable publications such as Resident Advisor, PopMatters, Clash Mag, Data Transmission, Electronic Groove and Radio 6 Music’s Nemone have also taken note, earning NHOAH the impressive reputation he has today. Acid-house pioneers 808 State also gained NHOAH’s previous remix EP a spot on The Quietus’ Albums Of The Month column.

NHOAH’s initial project Tangowerk released two albums throughout it’s cycle, and was nominated for the German Record Critics’ Award (Preis der deutschen Schallplattenkritik). With a majestic back catalogue behind him, NHOAH holds credit next to some of the planet’s most legendary and respectable artists such as Eurythmics, Depeche Mode, Bronski Beat, Jayne County and Romy Haag, to name just a few.

A skilled producer, engineer and drummer, NHOAH has been an essential to Germany’s underground electronic scene for the past four decades. Utilizing an array of analogue and modular synthesizers, as well as various components of software, NHOAH has recently furthered his unique approach to production by taking his studio to the road, producing wherever he may feel, exploring new paths with limited resources. This evolution has now bloomed into a mindful catalyst for NHOAH’s highly anticipated debut album, West-Berlin, a measure for which he has “started from scratch”, by reanimating spirit into his creative outlet.

Influenced by an array of talented and prolific producers such as Conny Plank (Krafwerk, NEU!, Ultravox) Hans-Joachim Roedelius and Dieter Moebius, NHOAH manifests these into a modern, albeit familiar style, shaping brooding techno sections into explorative journeys; rich synthesizers, cascading arpeggios, pulsating oscillations and complex patterns all complete NHOAH’s recipe for enchantment. Comparable to similarly like-minded artists such as Dominik Eulberg, Rone or Stephan Bodzin, NHOAH’s signature style exceeds any expectation beyond belief.

Available both digitally and in coloured double-vinyl, NHOAH’s long awaited full length album ‘West Berlin’ is a spellbinding voyage into the past, present and future; the embodiment of Berlin’s rich, echoic antiquity over the course of ten enchanting movements. NHOAH comments the new LP: “I was born in a club; the club was called “West Berlin”. There were the dance-mad, the military refugees, the gays and lesbians who had to escape the pressure elsewhere, and the lateral thinkers and revolutionaries. In this club, “West Berlin”, bars, discos and dark rooms were open all night – with no closing time. The East Berliners, right outside the door, were not allowed to get in. I was born into this maelstrom and grew up within it, and the club “West Berlin” left lasting marks on me until its closure.”

West-Berlin’s second track, “120 Red Skies” sets the mood; brooding textures, deep basslines and flowing harp-esque patterns all breathe beneath wonderfully paced beats. Robotic voices repeat the fourth track’s title “NO Kohle Oel Erdgas” before erupting into a club-ready format, spilling choppy synthesizers and hypnotic beats all over the dancefloor. “Sequenz 1” borrows elements from the aforementioned, blending together these energies and progressing into a beat driven, dominant ascension. The wobbling resonance of “Red Sky Blue Heart” coupled together with it’s tight and herculean drum arrangement is one not to be taken lightly; the abrupt entrance to a beautiful piano section amidst ethereal atmospheres, proceeds constant chanting of lyrics “The sky is red, my heart is blue”, possibly acting as the catalyst for ‘West Berlin’, and its empowering nature as a whole.

Royal Bliss


American rock band Royal Bliss announced the release of their video for single “Devil with Angel Eyes.” The band recently signed with FM Music Management and is currently playing shows, writing songs, and in the studio recording new material to be released during 2018 and beyond.

“We think this is a song a lot of people can relate with, we all have crossroads in our life and sometimes it’s hard to choose a path. You have people telling you what you should do, making promises they can’t keep. You just have to trust yourself and make your own path” says Middleton.

Hailing from Salt Lake City, Utah, Royal Bliss has been making their mark for years with a consistent work ethic of writing, recording, and touring that have helped build the success of the band. Their wide variety of influences from Led Zeppelin to Johnny Cash mold the sound that is uniquely theirs and cannot be denied. Their music speaks to the common man, tells a story and rocks out with a good party crowd, all the while being delivered by the inimitable deep and raspy voice of front man, Neal Middleton.

Royal Bliss started in a basement as kids who had a passion for music and a drive to succeed. Over the years their music has evolved from what would echo a rockin’ late night frat party with straight up Rock N’ Roll to blends of Folk and even Country. “It’s a musical cocktail” that celebrates life’s good times, hardships, love and raw emotion, while paying homage to their classic rock roots.

They began as a rock band achieving early success with their music on several rock radio stations. In 2009 their Capitol Records debut Life In-Between charted on the Billboard Top 200 and was #1 in Billboard Heatseekers. In 2012 the independently released Waiting Out The Storm reached #9 on the iTunes Rock Chart and hit #2 in Billboard Heatseekers. In 2014, Chasing The Sun was recorded and released again on their own label, Air Castle Records, with distribution through Universal (INgrooves) Music Group. On the Chasing The Sun album the alternative roots of the band shined on the album’s single “Cry Sister” that climbed the Active Rock chart to (#31) and was Royal Bliss’ 6th Single to crack the top 50 on Active Rock radio.

They have toured with acts such as Kid Rock, Lynyrd Skynyrd, Buckcherry, and have grown into seasoned and dynamic live performers with a solid fan base across the country. “We have always done our own thing by singing songs about things that are real and that are happening to us in the current state of the world” Says Middleton.



Seminal British alternative rock outfit Shriekback has announced they will release their fourteenth album ‘Why Anything? Why This?’ on May 25. As a teaser, they are previewingthe first single ‘And The Rain’, along with a darkly intriguing video filmed by Howard Davidson (a.k.a. Hodah).

Shriekback was formed in 1980 by ex-XTC keyboardist Barry Andrews and bassist Dave Allen on his departure from Gang Of Four, in collaboration with guitarist Carl Marsh from Out On Blue Six. Under the auspices of the visionary Y Records label (home to The Slits, The Pop Group and Pigbag), the group found their voice experimenting in EMI Music’s KPM demo studio in London, refining a uniquely recognizable sound in 1982 on their first full-length album ‘Care’ and eventually achieving wider recognition with the singles ‘Lined Up’ and ‘My Spine (Is The Bassline)’. In 1983, they were joined by drummer Martyn Barker (King Swamp, Billy Bragg).

A move to a major label, Arista, allowed the band to fully realize their sound on ‘Oil & Gold’(1985), a milestone album that remains the band’s best-known (helped by the success of the single ‘Nemesis’) and the foundation of their popularity on the US college circuit and elsewhere.

‘And The Rain’ is dark and infectious, conjuring up steamy, swampy, Southern Gothic blues.This 14th studio album, which boasts a wide, organic and detailed sound, is already being described by early listeners as their best since the landmark album ‘Oil & Gold’. The sound is dense, woody and fibrous. Here we find evolved Bo Diddley beats and African blues”. However you describe it, this is Shriekback refocused, reinvented and reinvigorated.

Band members have also pushed themselves musically and sonically – Barry contributes a lot of guitar, Carl has essayed some slide guitar and keyboards and Martyn has brought in a whole arsenal of world percussion alongside his drumkit. Regular Shriekback listeners will hear more guitars and live drums and fewer loops and electronics. The sonic palette is very broad.

Written, performed and produced almost exclusively by the core trio, this is very much a ‘band’ album, crafted over time with the three core members working in their own studios, as well as in group sessions at Yellow Fish and Echo Zoo studios to capture live drums. But the writing and production on this release has been much more collaborative, with Martyn, in particular, having more input than previously.

New collaborator Scott Firth (of P.i.L) adds irrefutable bass to selected tracks, while Shriekback regulars Wendy and Sarah Partridge contribute their ever-invaluable backing vocals. Live drums were recorded by Ian Caple (who’s been with Shriekback since the beginning) at Yellow Fish in Lewes and Christoph Skirl at Echo Zoo in Eastbourne. The album was mixed and mastered by Stuart Rowe in The Lighterthief Bunker, Swindon – his fifth Shriekback album in this role, an indication of the value placed on his objective ear and technical skill.

‘Why Anything? Why This?’ will be released on May 25. While fans should keep an eye out for the album via digital stores and streaming platforms, the album is already available for pre-order from the band directly at

The Lamps

Lamps EP pic

On their debut EP, San Francisco Bay Area Indie Rock trio The Lamps have created a rich tapestry of sonic ingenuity that weaves together modern Indie rock, with complementary elements of Jazz, Surf, Blues, Punk and Garage Rock. Initially formed in 2016, band members Joe Krahling (drums), Harrison Laver (guitar/vocals) and bassist Drew Dowling have debuted their studio sound with an EP of four solid, yet diverse, tracks that are unforgettably all their own.

Pushing one-another to the next level with different backgrounds and musical tastes, the guys have created rock jams that are both intricate, yet natural and organic in feel and tone. The new EP is made up of new compositions as well a few tracks that have been in the works and played live since the band’s formative years.

One of these original tracks is the rocking, stand-out track “Rivera”. A little bit of The Strokes and Nirvana – mixed with 80s alt-sounds of early R.E.M. or The Replacements – the track’s memorable repeat guitar riff is one that’s sure to become an earworm. First single and EP kick-off track “Word” is a percolating, mid-tempo, radio-friendly track that slowly builds into a fevered exercise in heart-ache. The boys take it down a notch on the meandering and breezy “The Outside”, displaying their softer side and skillful way around a solid Indie-Rock love song. The song is the band at their finest musicianship, with inventive and unexpected bass lines and jazzed-up drums.

Arguably saving the best for last, on album closer “Nothing Drill” Laver pleads, “I’m getting ready for the big change. Please don’t tell me that I’m too late.” The track spotlights his standout vocal prowess and sums up nicely the band’s cohesive individuality.

“The four songs on the EP are a nice representation of how versatile our sound can be. The songs showcase how we can get deliver a driving rock sound in “Word”, yet also have songs like “The Outside” that are more laid back”, Krahling said.

The EP was recorded, mixed, and mastered by producer and engineer Ryan Ellery at his home studio in Lafayette, CA. Ellery began his career as the co-founder of Panda Records in Oakland. After the studio closed, he brought his priceless recording equipment to his home in Lafayette, and now creates professional-quality recording from the comfort of his bedroom (aided by his husky dog!). The Lamps began recorded the EP over three weekends in January 2018, recording about one song per 10-hour day.

Of the recording process Dowling recalls, “There was a good amount of improvisation in the recording process. Since we were able to record with a bunch of channels, we were able to add in some additional parts that we don’t normally perform live. For instance, Harrison and I also composed our solos for “Word” and “The Outside” during the recording sessions.”

The Lamps built the songs from the ground up, beginning with the drums and layering instruments on top. And each bandmate brought their preferred musical toys to the game: Krahling (drums) was thrilled to be able to use his new DW drum kit. Dowling (bass) laid the low-end sonic landscape with his beloved active P-bass. Finally, Laver (guitar, vocals) used a Fender tube amp with various Fender and hollow-body Gretsch guitars. Throughout, producer extraordinaire Ellery provided invaluable insight, even contributing to the musicianship, manning the delay and modulator guitar pedals while recording “Rivera”. .

With the EP, the band has created a rich tapestry of sonic ingenuity with rock jams that are both intricate, yet natural and organic in feel and tone. “The four songs on the EP are a nice representation of how versatile our sound can be. The songs showcase how we can get deliver a driving rock sound in “Word”, yet also have songs like “The Outside” that are more laid back”, said drummer Joe Krahling.



‘Insomnia’ is a vital and heady show of solidarity with victims of sleeplessness. Like the beginnings of sleep-deprived psychosis, a menacing and glitchy laugh taunts the listener before the new-age trip hop beat drops. It’s an ambient and cinematic lullaby to all the insomniacs whose dusk introspections have taken a psychic turn for the worst. Carefully interwoven acoustic and electronic elements make this a resplendent show of futurism as Ishani’s searing vocals call to mind the effortless melodics of Grimes. Infectiously hard to pin down, ‘Insomnia’ moves through electro pop motifs and huge walls of rock and roll guitar as it builds to its mesmerising climax. As the tumbledown guitar lines collapse away the song loops back to its beginning and Ishani coos the repeated mantra “I’ll sleep when I’m dead,” a sinister reminder of the self-circumscribed hell of the sufferer. Ishani is a thrilling new voice for a generation unafraid to be open about its problems. With her canny ear for a catchy tune she’ll be soundtracking many of our long nights yet.

Hailing from the southernmost point of England, at a young age Ishani returned with her family to the sprawling metropolis of Bangalore, India, where she spent her childhood. After obtaining her degree in TV, Film and Radio in Singapore she moved to London to study Audio Engineering at Alchemea & Point Blank. Her first track ‘Pelican Elephant’ was picked up by MTV India and she was showcased as a BBC introducing artist. Ishani has performed at Sziget Festival and she’s also opened for the Icelandic electronic group ‘GusGus’ at Be My Lake Festival. Her second single ‘Don’t Stop the Fight’ was downloaded over 400,000 times after being included in the Indian interactive comic book Priya’s Mirror. Ishani is deeply influenced by artists such as Massive Attack, Portishead, Morcheeba and Hooverphonic. She is now working on the new music that will eventually be released as her debut EP Stormy Emotions which is due out in August 2018. Instantly recognisable by her distinctive vocals, and with incisive and often challenging lyricism, (‘Don’t Stop The Fight’ centres on the horrific social effects of rape), Ishani has already earned her dues as a serious and provocative recording artist. New single ‘Insomnia’ centres on the anxiety that keeps us awake every night, and it’s sure to keep the aura growing around this brilliant and brave new voice.

Awaken I Am


Australia’s AWAKEN I AM continues to break genres with the release of “Dissolution,” their newest video. The brand new track follows the release of their full length album Blind Love.

“This song is a chance for me to get some closure and say some things I never had the chance to say. The new sound and imagery symbolizes taking a step forward, leaving the past and old ways behind,” explains drummer Luke McKenzie.

“After being so blown away from our recent first full tour of the United States earlier this year, we are so excited to come back for a second this summer with CKY and Slaves. The guys in Slaves are good friends and CKY always puts on a killer show, so we are expecting great vibes all around on this tour.”


(with Escape The Fate, Between Kings – Australia)


28 – Perth @ Amplifier Bar

29 – Adelaide @ Fowler’s Live

30 – Richmond @ Corner Hotel


1 – Camperdown @ Manning Bar

2 – Newcastle @ Cambridge Hotel

3 – Newstead @ Triffid

4 – Wellington @ Valhalla Tavern


(with CKY, Slaves, Royal Thunder – US)

1 – Toronto, ON @ Opera House

2 – Detroit, MI @ St. Andrews Hall

4 – Louisville, KY @ Diamond Pub & Billiards

5 – St Louis, MO @ Fubar

7 – Fargo, ND @ Sanctuary Events Center

8 – Iowa City, IA @ Gabe’s Oasis

9 – Lincoln, NE @ Bourbon Theatre

11 – Colorado Springs, CO @ Sunshine Studios Live

12 – Denver, CO @ Bluebird Theater

14 – Vancouver, BC @ Rickshaw Theatre

15 – Seattle, WA @ Revolution

16 – Portland, OR @ Dante’s

19 – Tempe, AZ @ Marquee Theatre

21 – Lubbock, TX @ Jake’s Backroom

23 – Dallas, TX @ Trees

24 – Houston, TX @ Scout Bar

25 – San Antonio, TX @ Alamo City Music Hall

27 – Atlanta, GA @ Masquerade

30 – Brooklyn, NY @ Brooklyn Bazaar

31 – Philadelphia, PA @ Underground Arts


1 – Worcester, MA @ The Palladium

Paper Hawk


Crafting an intimate, ethereal sound, inviting you into their private world, Paper Hawk’s debut EP The Tide is set for release on the 2nd May 2018 through Brighton’s boutique record label Folklore Sessions. The 4-track record signals the beginning of a new adventure for this emerging band. Alongside digital distribution on iTunes and Spotify, a limited run of 50 physical copies will be available in June, a month after the digital release date. Each record comes with a handwritten thank you letter, additional artwork, and a signed art print. Although new to the scene, Paper Hawk have swiftly left their mark playing across the country with sets at Glastonbury, 2000 Trees, YNOT and the Alternative Escape Festival.

Recorded in the living room of their Brighton flat the record marks a cathartic release from a tumultuous few years. From the defeated notes of ‘Trails’ – a hypnotising whisper chronicling the throes of a volatile relationship – to the comforting promise of support in ‘Northern Sky’ – The Tide is a collection of songs written with a hand-on-heart approach and striking honesty.

Produced by Josh Trinnaman (the brain of jazz-IDM fusion band, Luo), the intimate guitar and vocal arrangements are brought to life with rich soundscapes and electronic ambience, creating a dream-like atmosphere that draws you in and keeps you captivated.

Paper Hawk is an alt-folk duo currently based in Brighton, who combine intricate guitar driven melodies with hushed tones and raw confessional lyrics. A collaboration of two songwriters, Rebecca Brandler and Scott Booth, the project began after the two met a few months after both moving to Brighton to study. Rebecca heard Scott playing a cover of ‘Ocean’ by John Butler and instant musical sparks were ignited and she knew she wanted to write music together. The bond was then nurtured in a cold basement flat with muted rehearsals to avoid complaints from the neighbours but has proven to pay off, being nourished into a harrowingly beautiful EP with layers that muster unique strength, blanketed with velvet vocals.

Aleksi Susi


Finnish electronic artist Aleksi Susi has released a new single called Life is a Funnel.

The single release is a bit more emotional – the product of current emotions and phase of Aleksi’s life. There is a lot of real instruments and organic solutions in the music itself. The song grows more and more towards the end and rewards the listener with powerful melody that is meant to make the person think about the important things of life and possibly to help finding the answers to the important questions.

Aleksi comments the new track:
“This song is very personal and important to me. It is about returning to own roots, learning more about the history of own family and returning to the important places. Sometimes people live in the breaking point and some things are being left behind in the life and essential, important things become more important. When you get older, some things become more clear and you get the answers to the big question. It also feels that there is musically some kind of breaking point going on too where the destination is unknown and all the gates are open.”

Oliver Hazard


Few people have heard of Waterville, Ohio. A rust-belt city of a few thousand comfortably settled against the Maumee River, it’s the kind of Americana often romanticized about as a place of unvarnished love, bitter outcomes, and hometown grit. The entire place feels like a dream—a sense found in the music of Waterville’s ascendant indie-folk trio, Oliver Hazard.

The story of Oliver Hazard is the digital age’s version of classic band mythmaking. One member of the band returned to Ohio after leading camping trips in California and decided to make an album with two of his childhood friends, a door-to-door salesman and a construction worker. They won a Facebook raffle to record a single song at a recording studio. Instead, they pitched playing their whole album straight through once, and so came their debut album 34 N River. They sent it to a friend who sent it to a friend, who sent it to The Fader, who called it a “folk-pop masterpiece.” The band was booked at Bonnaroo and Mountain Jam shortly thereafter.

34 N River is named after the house that Oliver Hazard’s members share. The band has tended it as their “creative vacuum and cultural refuge”: inside are discarded mandolins, tambourines, a suitcase kick drum, and other odd instruments that charm the band’s music. At their essence, Oliver Hazard is indie-folk seemingly meant to be accidentally discovered—at a bar somewhere in the Midwest, sung by three earnest, harmonizing musicians, who make you turn your head and feel like not giving up just yet.
May 18 | Kansas City, MO at Bluegrass in the Bottoms
May 19 | Davenport, IA at Raccoon Motel
May 24 | Ferndale, MI at Otus Supply
May 25 | Lansing, MI at Mac’s Bar
May 26 | Kalamazoo, MI at Bell’s Eccentric Cafe
June 07 | Manchester, TN at Bonnaroo
June 17 | Hunter, NY at Mountain Jam
June 29 | Toledo, OH at Civic Music Hall

Linda Vogel

Press shoot Linda Vogel_Isis&Osiris_credits_Cyril Schäublin_2018_2

Swiss experimental-pop artist and harp-extraordinaire Linda Vogel shares latest single ‘Isis & Osiris’ set for release on 20th April via Radicalis Music. The single was produced by Manuel Egger (Ju, Trio Heinz Herbert, Mûr), and follows debut EP titled ‘On’ released in February 2018. The nearly twenty-minute offering gained Linda Vogel considerable exposure through respectable Swiss publications such as Noisey, Der Bund, Negativewhite and Rockstar Magazine and has been featured in the Tages-Anzeiger daily mail, a prominent national newspaper. Switzerland’s sect of Vice’s Noisey has featured a music video for Linda Vogel’s previous single ‘Prisoner’ at least twice since it’s initial release.

Hailing from Zürich, Linda Vogel began learning to play the harp as early as age six, thus prompting her to show interest in opera and singing. After studying classical music, and exploring her true calling, it was then time to gracefully transform her experimental leanings into her own musical language. Vogel then recruited drummer and percussionist Vincent Glanzmann, who holds credit performing and collaborating with renowned percussionist Gerry Hemingway. Linda Vogel has also received airplay on important Swiss radio stations such as public radio station SRF 2 and leftflield stations Radio Stadtfilter, Kanal K, Radio LoRa, Radio RNV and Radio La Fabrik.

Influenced by an array of nostalgic and current innovators from Bob Dylan to Nirvana, and Chance the Rapper to Nina Simone and so on, although Linda Vogel has developed her own unique signature style with her imaginative brand of experimental-harp-induced-pop. Utilizing techniques such as bespoke mechanical triggers and various home-made extensions for her electro-acoustic harp, as well various effect pedals to encapsulate on ethereal atmospheres within her captivating aural soundscapes. Linda Vogel’s music could be best compared to the mysticism surrounding similarly like-minded musicians such as Anna von Hausswolff and Julianna Barwick for her experiments in texture and atmosphere, and singers such as Marissa Nadler or Sharon Van Etten for her exquisitely delicate and moody vocal delivery.

The latest single ‘Isis & Osiris’ begins with slow-strummed harp patterns and melancholic swirls as Vogel whispers a spoken word passage and hums a melodic tune. Glanzmann’s percussive build starts to glow here, progressing with each passing bar like torrents of bliss. The vocal delivery is beautifully raw, yet elegantly reflective, with phrases like “I am not yet twenty feet tall”, it’s clear that Linda Vogel wears her heart on her sleeve, and reinterprets this into magnificently hypnotic soundscapes.

Commenting on the new single, Linda Vogel states: “I wrote the song ‘Isis & Osiris’ in a small, beautifully mystic village in Brittany called “end of the world“. I had some trouble falling asleep at that time.”

Photo Credit: Cyril Schäublin

550 Papertrail


Today, Kirkwood, GA rapper 550 debuts eight hypnotic trap bangers on his new mixtape Cinco. Atlanta producers Will A Fool, Exotic and Slo Meezy deliver head-nodding beats that complement 550’s honest tales about the streets.

“The Cinco concept comes from both my name and where we’re from, Lil Mexico, aka Kirkwood Atlanta,” explains 550.” Every track paints a picture of my life and things that I’ve been through from the music to the streets. It’s the story of 550.”

Cinco follows the “menacing” 21 Savage featured single “Radar” premiered with XXL Magazine and declared a “trap banger” by HotNewHipHop and the street-life narrative “Raiders” debuted by southern tastemakers Dirty Glove Bastard.

Susie Scurry


Melbourne singer-songwriter Susie Scurry has released a music video premiered this week by Spill Magazine to accompany her latest single ‘The Elvis Hour’.

The clip is a lovingly put together intimate video montage of Elvis – dressed to impress in a striking navy blue jumpsuit – and his entourage meeting and greeting lucky and adoring fans before his concert.

More than a love letter to The King, this song itself is an autumnal lament about the Sunday night blues, and the anxiety of working a job you don’t love. Telling the story of an hourly program on the dusty end of the AM dial (the now defunct Magic 1278) which paid tribute to Elvis every Sunday night, showcasing his prolific career and breadth of styles from Vegas to Hawaii, cowboy to crooner. ‘The Elvis Hour’ is a homage to the iconic legend and the lonely existence of ‘The King of Rock n’ Roll’.

The song will be launched at secret venue One Year in Collingwood tonight, with support from Prophets and Seagull. Location, time and ticket details will be provided via private message to Susie’s Facebook page so fans are invited to message her here if they wish to attend.

‘The Elvis Hour’ is the first single from Susie Scurry’s lush forthcoming six-track EP of the same name recorded in Sheffield, UK at Yellow Arch Studios with Mercury-nominated producer Colin Elliot (Richard Hawley, Jarvis Cocker, etc). The EP will be released on Friday 22 June.



ORKID, aka Matilda Melinfrom Sweden’s far north, continues to soar and amaze, release after release. Personifying quintessential Swedish indie-electro-pop, it’s hard not to fall for Orkid’s brand of velvet, soulful, fragile yet commanding vocals, alongside her captivating and piercing beauty inside and out.

The 21 year old starlet now lives in Stockholm – a world hub for modern pop – but was schooled on classic legendary singer/songwriters like Nat King Cole and Sam Cooke. These contrasting influences can be heard in ORKID’s rare quality to possess both on trend and a maturity beyond her years artistry. At the raw age of 16, she cleverly used the ‘Idol’ stage and overcame the challenge of being heard from a small town, leaving audiences gob smacked with her world class potential. Desiring much more than ‘flash in the pan’ success, over the following two years ORKID completed her education, honed her song writing and live performance skills, and developed into one of Sweden’s most exciting artist exports to watch.

Her latest release “Wasted” received massive attention from blogs, radio and music editors across the globe. The Line Of Best Fitalso featured ORKID alongside Hillydilly and other infamous online music outlets. The song was featured on 21 different “New Music Friday”lists on Spotify, including U.S. and UK, and reached the top spot on the Hype Machine most blogged/popular lists.

New single “So Rude” (Written together with U.S. chart topper Lucas Nord) will push ORKID towards yet a new direction, highlighting the urban side of this uniquely diverse and talented young artist.

ORKID shares: “So Rude was written with no particular person in mind. At the time I was waiting tables at this restaurant, so Lucas and me wrote this song about all the rude guests you encounter on a regular basis. I like the idea that when you hear the song you’ll probably think it’s about a relationship, but when you know the true story behind it it’s actually kind of funny.”

Evelinn Trouble

Hope Music Cover_NO FONT

The eclectic Evelinn Trouble has shared ‘Hope Music’, the second track to be taken from her upcoming EP of the same title, set for release on 4th May via Radicalis. Her previous single ‘Monstruous’ which received support from the likes of Clash Magazine, All Things Go Music, Noisey and Variance Mag has been met with an overwhelmingly positive response. Originally hailing from Zurich, the now Berlin-based Evelinn Trouble has already racked up over a quarter million Youtube views, seen support from Line Of Best Fit and her track ‘Sunset Everytime’ was named by Noisey as one of “The 33 best Swiss rock, indie and alternative songs of the year” with radioplay including Switzerland’s Radio SRF3. Trouble performed back-up vocals for Swiss export Sophie Hunger, and has collaborated with STRESS, and she has taken to the stages of The Great Escape Festival and Montreux Jazz Festival.

Born in Zurich to a Swedish jazz singer mother, Trouble grew up in the city’s vibrant squat scene, where her musical talents were battle tested living and playing in occupied houses. “Performing in front of drunk punks at 2 am on a stage, on the verge of collapsing teaches you everything you need to know as a musician,” she says brandishing both emotional and physical scars – some of which she acquired from leaping in front of a moving train in her early twenties. She awoke in a hospital bed, miraculously surviving the 10 000 volts of electricity that passed through her body. Four albums and three EP’s later, she has emerged, and channelled her shadow-self into a vast sonic universe of dark poetry and breathtaking beauty, never bothering about genre boxes or playing it safe. She is renowned for her visual work, directing her own music videos as well as videos for other bands, her poetic visual language being traceable to the DIY background she is from, be it a remake of the classic Wizard of Oz as a trashy splatter short film or a ride in her tour bus that leads through a fractal zoom to a place above the clouds. She played the bloodthirsty Salomé in the opera of the same name, composed music for several plays and film and is regularly touring the world with a contemporary theatre company, miming a knight who – much like herself- was hit by lightning.

Citing the likes of Frank Zappa, Nina Simone, Karon Dalton and Jimi Hendrix as influences, Evelinn Trouble’s sound begins at the intersection where Thom Yorke meets Patti Smith. Like her debut, she recorded and produced this release herself, the sonic universe being a collage of two years of home recording in several bedrooms, attics and hotel rooms across the globe – mixed in Berlin, where her nomadic spirit resides for now. On ‘Hope Music’ Evelinn’s standout vocal work emerges like a Djinn, and powerfully asserts her every word. The track traverses melancholic territory but unfolds as an anthem of hope – delivered by an artist that has truly lived every line of her songs.

Ever wondered what optimism sounds like in the days of now? Evelinn Trouble’s song ‘Hope Music’ is an educated guess on the topic. When you think of the singer reputed for her dark, eerie songwriting, “hope” or “optimism” might not be the first two words that come to mind. And yet, here she is, delivering light-hearted vocal lines over a sassy dance-beat, lamenting with fervor that “Hope Music“ is gonna save her soul. But Trouble wouldn’t be trouble if she’d leave it at that and after a few listens it becomes clear; this song is about more than getting up in the morning with a smile, this “hope” is about survival, an outcry directed at life: “I don’t wanna feel dead anymore“, and maybe that’s as optimistic as it gets in this cynical age of now.

Speaking of ‘Hope Music’, Trouble comments: “I was struggling to see anything in a positive light and I suspected that it had something to do with the music I was writing, which tends to be melancholic. I thought if I’d manage to write something life-affirming, things would face up. But in order to write something, I have to feel it first, so I made a big effort to teach myself to “think positive“. I became obsessed with the idea of self-transformation, got really into sports, healthy living, meditation, quit alcohol, all sorts of things to turn myself around. Hope Music was written in that obsessive phase, very blissful but delusive. I see it differently now; staying positive is an ongoing challenge and not something you can achieve by writing a hopeful song once.”

Meant To Bend

MtB Minimum Frowny EP Cover(1)

What do we have to give?” On the alternative radio-friendly opening track “Light for One” vocalist/guitarist Aamir Mauladad of San Francisco indie-rock trio Meant to Bend poses this question with earnest delivery, perhaps teasing the listener of what sonic journey might await. What the listener, at this point, doesn’t fully realize is that this four-track debut from intense new Bay Area band Meant To Bend will go on to deliver four tight Indie Pop-Rock tunes that strut their way through innovatively angular, post-punk riffage while, at the same time, maintaining an air of familiarity and accessibility.

Produced and engineered by seasoned studio maestro Jeff Byrd, the MtB gentlemen recorded their magic in the humble digs of Byrd’s warehouse office/Los Gatos studio, Free Range Byrd Sound. Each of the tracks seem to accurately represent each band member’s individual prowess and musical tastes and backgrounds. And, as their steadily-growing local fan base can attest, this aural amalgamation can be witnessed exponentially via the trio’s powerful live performances, with each musician weaving their stamp into various concoctions.

Minimum Frowny swings from speedy, razor-sharp bangers to undulating, woozy riffs that make you forget you’re not on drugs. “We write our songs to have live ‘moments’ and, we think, in conjunction with Jeff, we captured those flashes for the EP,” comments Mauladad.

On the breakneck speed punk rush of “With the Slope”, the band’s impeccable musicianship is on full display. Drummer Nathan Driver lives up to his name, cutting staccato beats and crashings (oh, what a bridge!), while Mauladad and bassist/vocalist Gaku Kelliher rise to the elevated challenge with sliding vocal inflections and lethal guitar licks that mean business. The threesome takes things down a notch on the slowly swinging melancholic trance of “Crystal Intent,” setting a darkly cinematic dreamscape and demonstrating their collective skill at restraint (as well as rage).

Album closer “Closet Nihilist” quickly kicks it back up to a manic menace. As the drums build, the track morphs into an elaborate dance of guitar and bass rhythms and Interpol-esque harrowing vocal chants. Musically dynamic, it feels like a baton race of sorts, with the bass and guitar handing each riff off to one another, then passing it off to the drums to take center stage – again. “The guitar and bass parts that Gaku and I write are (more often than not) symbiotic and they need each other to survive,” Mauladad insightfully explains.

All-in-all, the impressive debut collection provides an insightful, exciting sample platter of what Meant to Bend has to offer – and have to come – all depending on the curves and twists presented along the way.



Cambridge Analytica… Data farming… The Information Age… We’re all caught in an ‘Algorithm Prison’… The new track from London’s most exciting new band SISTERAY is another belting, intelligent, and timely statement from the 4-piece – out through another important London upstart, Vallance Records.

With a string of thrilling live performances across the past year, including at Reading Festival, Camden Rocks, Tramlines Festival, shows for Dr Martens, their first European dates, and all culminating in a sold out show at London’s Dingwalls just last month, Sisteray have been quickly clicking through the gears and given us a new British band to truly get excited about.

If last year’s ’15 Minutes’ EP from the group gave us a glimpse of what these guys are capable of, then their new material shows that promise being fulfilled, and then some.

‘Algorithm Prison’, the latest track from the 4-piece, is a precursor to their best work yet, set to follow in EP form later this May. “We ain’t your target market” howls singer Niall Rowan as they rail against the digital world we’re in, what we’ve become, what we’re doing with it. Oh, and it even features Pete Townsend’s own guitar, because of course it does, that’s how these guys roll.

This is Sisteray and it’s time to tune in folks…

Sisteray release ‘Algorithm Prison’ through Vallance Records, with a new EP set to swiftly follow in late spring. The band also have a series of live dates coming up, including Camden Rocks and a headline show at London’s 100 Club later in the year.


18 May – BRIGHTON – The Alternative Escape Festival

19 May – SHEFFIELD – The Royal Standard (Royal Bedding Concert)

02 June – LONDON – Camden Rocks Festival

20 July – LONDON – Nambucca (NambuccaPalooza Festival)

14 + 15 Sept – HUELVA, SPAIN – AnfiRock Festival

17 Oct – LONDON – 100 Club

Sun June


Sun June have shared the third song from their upcoming full-length, Years, a delicate 10-track collection that’s musically soothing and lyrically stabbing at once. Consequence of Sound premiered “Slow Rise II” today, stating, “the record showcases Sun June’s embracingly warm harmonies and judiciously employed reverb. Such is the case with the effort’s latest single, ‘Slow Rise II.’ Colwell’s voice weaves its way gently between dreamy notes of indie folk pop… There’s a sadness in that caress…”

Years is due June 15 via Keeled Scales, home to kindred talent like Julia Lucille, Big Thief’s Buck Meek and more. Sun June recently kicked off a U.S. tour at the Levitation after-party in Austin, alongside the likes of Waxahatchee, Hurray for the Riff Raff and Bedouine. Dates are listed below; more to be announced.

May 16 | Austin, TX @ Stubb’s (w. Hovvdy, Half Waif)
June 14 | Austin, TX @ Spiderhouse Ballroom (album release show, w. Julia Lucille, Daphne Tunes)
June 16 | El Paso, TX @ Neon Rose
June 17 | Tucson, AZ @ Owls Club
June 19 | Los Angeles, CA @ Bootleg Theater
June 20 | San Francisco, CA @ The Knockout
June 21 | Chico, CA @ Tender Loving
June 22 | Olympia, WA @ Cascadia Brewing
June 23 | Portland, OR @ Turn Turn Turn
June 28 | Phoenix, AZ @ Trunk Space
June 29 | Albuquerque, NM @ Launchpad
June 30 | Marfa, TX @ Lost Horse Saloon
July 14 | Lafayette, LA @ Sickbay
July 26 | Orlando, FL @ Henoa Center
July 28 | Panama City, FL @ Mosey’s


Sworn Enemy


SWORN ENEMY announces their 15th Anniversary “As Real As It Gets” Tour with special guest THY WILL BE DONE.

The tour kicks off on July 12 in Kent, Ohio, taking them through the Midwest, into Texas and back to the east coast ending at THIS IS HARDCORE festival in Philadelphia.

Vocalist Sal LoCoco adds, “It’s been 15 years since we put out “As Real As It Gets” and I’m every bit as psyched to go out and tour for this record now as I was then! This July we head out on our anniversary tour and we couldn’t pick a better bunch of guys to join us on this run than THY WILL BE DONE. We will see you all out there real soon!!!”

SWORN ENEMY recently finished up in the studio with Robb Flynn and their new album is scheduled to be released later this fall.

Full dates can be found listed below:

7/13 Kent, OH @ The Outpost

7/14 Detroit, MI @ Sanctuary

7/15 Johnson City, NY @ Avenue DIY

7/17 Memphis, TN @ Hi Tone

7/18 Oklahoma City, OK @ 89th Street

7/19 Big Spring, TX @ Desert Flower

7/20 Corpus Christi, TX @ Boozerz

7/21 Houston, TX @ White Swan

7/22 Fort Worth, TX @ Rail Club

7/23 Kansas City, MO @ The Riot Room

7/24 Omaha, NE @ Lookout Lounge

7/25 Chicago, IL @ Reggie’s

7/26 Toronto, ON @ Coalition

7/27 Rochester, NY @ Montage Music Hall

7/28 Pittsburgh, PA @ Cattivo

7/29 Philadelphia, PA @ Electric Factory

Band Members

Sal Lococo- Vocals

Jeff Cummings- Guitar

Matt Garzilli- Guitar

Mike Pucciarelli- Bass

Taykwuan Jackson- Drums



Today Gothenburg based outfit Wildhart announce a new EP, ‘Caught In A Fisheye’ set for release this summer. The follow up to their critically acclaimed debut full-length album ‘Shine’ – the EP announcement arrives alongside a new single entitled ’New Beginning’, the first new music to be heard since their 2016 album. The song marks a progression in their sound, a stunning step forward – and lyrically details the realisation of something that’s been dragging you down for sometime, endlessly holding you back – before finally finding a way to let it go, and move forward.

“‘New Beginning’ is about the moment when you’re about to let go of something that’s been dragging you down for a long time” the band explain.

Amidst the electronic snaps and cracks and throbbing synth chords, there’s a distinct feeling of ease within its sparse, pop-tinged instrumentation. Elegantly building throughout to a cathartic release in the outro, where singer Ylva Holmdahl’s vocals are manipulated into a synthesised vocal choir – the structure of the composition cleverly reflects its lyrical undertones. The band went on to say, “there is a sense of sadness through the song but, there’s also a feeling of peacefulness and joy”.

The video for ‘New Beginning’, also released today, was shot in Stockholm last December in the freezing cold, directed by Julia Thelin.

Since Wildhart released their debut album ‘Shine’ towards the end of 2016, a lot has changed for the Gothenburg outfit. The trio has become a duo. This, of course, has shaped the the band’s sound into something new and fresh – a new beginning, you might say. The recording process has evolved since their most recent work, with the breakup foring Ylva, and Kiwi Berg to work and write in new ways – with the path between ideas and finished material shorter than before.

The soft synthesizers and dreamy atmospheres remain, but rhythm section has been replaced with more sample-based beats, naturally giving Ylva’s vocals more space to breath, leaving room for more dynamic possibilities.

The pair’s upcoming EP ‘Caught In A Fisheye’ promises to be a more contained, focused project, compared to the wild and explosive songwriting evident on their debut full length.

Wildhart are in intriguing prospect, always evolving – always pushing boundaries – always moving forward.



Bay Area’s prodigal sons, TRAUMA releases As the World Dies May 11th 2018 worldwide through The Orchard/Sony.

Bay area thrash legends TRAUMA return with a crushing new line-up and a brutal new album, AS THE WORLD DIES, produced by Trauma guitarist Joe Fraulob and mixed by Juan Urteaga (Machine Head, Testament, Exodus, Ted Nugent). The first single The Rage was #3 most added track at Metal Radio this week.

TRAUMA is highly revered by those in the know as an important evolutionary entity in the intersection of traditional heavy metal, the New Wave Of British Heavy Metal, and the more melodically minded classic rock influenced bands on the Sunset Strip.

This is the band responsible for the much sought after classic ‘80s album, Scratch and Scream, featuring killer cuts like “The Day All Hell Broke Loose” and “Lay Low.”. Three decades passed before the reconfigured band reemerged in support of a re-mastered edition of their Shrapnel debut and delivered its 2015 follow-up, “Rapture and Wrath”.

With reverence for the past but eyes sharply focused on the future, the 2018 TRAUMA prepares to release their landmark third album AS THE WORLD DIES, staying true to the signature sound that came before but with a very modern edge. The potential for heavy metal greatness inherent in the revitalized lineup of veterans is powerful. Determined to make a mark in the metal world of today, in 2017 founder/vocalist Donny Hillier and longtime Trauma drummer Kris Gustofson put together a monstrous lineup of amazing players to create and record their highly anticipated third album. Guitarist Joe Fraulob is a former member of multi-platinum hard rockers Danzig. Steve Robello played guitar in Dublin Death Patrol, the Bay Area super-group formed by the singers of Exodus and Testament. Bassist Greg Christian, was a founding member and integral part of Testament. The power and chemistry of this devastating new line-up is evident on AS THE WORLD DIES.

TRAUMA was born in California’s Bay Area in 1980, a crucial year for metal music. It was within that fertile musical climate that TRAUMA developed a sound evoking the electric energy in the air around them. Donny Hillier consumed a steady diet of Zeppelin and Sabbath and shared love of Priest and Maiden with guitarist Mike Overton. And of course there was Trauma’s legendary early bassist, Cliff Burton.

In 2013’s Birth School Metallica Death: The Inside Story of Metallica, legendary Bay Area thrash singer Steve “Zetro” Souza of Exodus recalled seeing Trauma as a music-hungry teenager. As Zetro remembered it, several voices in the Northern California scene heralded Trauma as “the next big thing” to emerge from the Bay. The band built a strong reputation in places like The Stone, late music impresario Bill Graham’s Wolfgang’s venue, and Hollywood landmarks The Troubadour and Whiskey-A-Go-Go, a launching pad for The Doors, Van Halen, and Guns N’ Roses.

Much like Metallica, Trauma’s first recorded appearance was as part of the compilation series curated by Metal Blade Records. Metal Massacre II (1982) featured “Such a Shame.” The band shot a video for the song “The Warlock” in Santa Ana, California, not long before Burton left the group to join Metallica. New members entered the fold, including powerhouse double kick drummer Gustofson.

The highly-skilled-musicianship-centric Shrapnel Records, the label formed by record producer and Guitar Player columnist Mike Varney, issued Trauma’s debut.Scratch and Scream arrived to enthusiastically positive reviews from the worldwide metal press, including tastemaker publications Kerrang!, Circus, and Metal Forces.

As fate would have it, TRAUMA did not survive the era, but much like the Misfits and other important bands who accomplished so much in such a short time while flying under the radar, the story of the band grew for generations of fans; enough that demand continued for their seminal debut, the follow-up album,and the group’s first ever appearances overseas, most notably at Germany’s Headbangers Open Air.

The Big 4 of Thrash Metal continue to deliver the goods. Iron Maiden concerts are cross – cultural events for legions of fans around the world. Judas Priest churns out incredible albums. New generations of fans form vintage sounding thrash bands everyday. And the Bay Area’sprodigal sons, TRAUMA, are ready as ever to attack.

Science NV

ScienceNV have just released a new single from their latest album. “Gates of Alexander” comes from “The Quest for Prester John Volume One”. In a review at Wormwood Chronicles the reviewer calls the song, “…an energetic prog workout…”

“The Quest for Prester John Volume One.” Reviewing the album at The Progressive Rock Files, Jerry Lucky said it “is more intense than much of their previous work, there is a lot to sink your teeth into musically, but it’s a very tasty listen well worth spending time with.” At Music Street Journal Greg Olma said of the album, ” it has more than its fair share of really good songs with the instrumental tunes and passages being the standout moments here….” The album “has many different elements ranging from jazz, rock, and even operatic vocals making for a very prog release. “

The second volume now has a release date set for June 15th. Together they will comprise a full concept album in the rich tradition of progressive rock concept albums. The basis for the story is a fascinating tale from history.

Headquartered in San Francisco, California, ScienceNV was formed in 2005 by Larry Jay Davis (guitar and bass guitar), David Graves (keyboards), Jim Henriques (guitar and keyboards) and Rich Kallet (drums). ScienceNV released their debut album, Really Loud Noises in 2008. They followed that up with Pacific Circumstances in 2010. The Last Album Before the End of Time was released in 2013.

While their previous albums were strictly instrumental and without guests, some of these new works include vocals, and there are many guest performers contributing. In fact, between the two discs more than 30 artists worked on the music, recording in six different studios across the United State

Jack River


Jack River has shared an electrifying Cub Sport remix of her recent hit, “Ballroom.” Today’s track makes its entrance between an entirely sold-out Australian tour and the pop goddess’ much-anticipated debut album Sugar Mountain, out June 22 on Hopeless Utopian.

Worldwide excitement promises that Jack River has perfected a blend of guts and sparkle. First single “Fool’s Gold” provided the glitter and grit music lovers were missing in pop music, amassing over 3 million streams and sliding into triple j’s Hottest 100 ranking. “Fault Line” followed with forceful rhythm and a speedy-quick one million streams.

While the grand bulk of Jack River’s irresistible releases are celebratory and bright, there’s shaking depth to this particular collection. Sugar Mountain is named after Neil Young’s bittersweet ode to youth and the loss of innocence. As Rankin explains it, “It’s the souvenir of my youth, the wish of what it could have been.” Eleven years ago, a tragedy fractured Rankin’s life – and the small NSW coastal town she grew up in – when her beloved younger sister passed away in an accident. Rankin found herself adrift, and songwriting became not so much catharsis as a survival tool.

Beyond her music as Jack River, Holly Rankin simply cannot sit still. Along with a team of local mates, she produces the sold-out Grow Your Own Festival, a community-enriching festival in her hometown, as well as Electric Lady, an internationally acknowledged concert-hosting platform that aims to amplify the strength of women in music, politics, science, sport and beyond. As both artist and entrepreneur, Holly Rankin cannot be stopped..

Death Will Tremble


Post-metal/doom five-piece DEATH WILL TREMBLE have been making significant rounds in the Austin, TX heavy metal underground, extending outwards to new fans and followers since the release of their 2016 full-length album, Mona. The album garnered the band high praise beyond the local scene, even earning a spot on Metal Trenches’ Top 10 Most Innovative Releases of 2016, as well as the number one spot on Metal Nexus’ Top 25 Releases of 2016.

DEATH WILL TREMBLE’s music is as heavy as it is emotionally charged – conveying a melodic, downtempo ambience that has been likened to bands ranging from Crowbar to “the darkest parts of the Deftones,” and described as everything from doom to “sludgy, atmospheric post-metal.”

2018 marks DEATH WILL TREMBLE’s return to the musical realm, with the release of their ambitious, devastatingly heavy 14-minute single track EP, Departures. This crushing effort will be available for mass pre-order soon, with initial pre-orders available now via As they did with Mona, DEATH WILL TREMBLE utilized longtime producer Tim Gerron (Deadhorse/MOD) to record Departures.

Listen to a sample of Departures now via an official music video teaser:

On Departures, the band opted to create one cohesive work rather than separating a single thought or concept into multiple pieces. “After the release of Mona, we really started to think about the way we experience this music, and the way we want other people to experience it – and because in our live shows we tend to perform our set without any breaks between songs, we wanted to record this EP in the same way,” says vocalist Hunter Townsend. “This music is so emotionally heavy for us that we want to create an atmosphere, live and in recordings, that requires the listener to really live inside of it instead of skipping from one song to the next.”

Thematically, Departures deals heavily with loss – not just the act of losing someone, but learning to live with that loss as well. Two members of DEATH WILL TREMBLE recently witnessed the extended illness and ultimately loss of an immediate family member and feel that the experience is strongly reflected in the new album, whether it was initially intentional or not.

Hunter adds, “Chase (lead guitar) and I lost our father to a rare neurological disease just before the recording of Mona. He’d been sick for a number of years, and while none of what was written for Mona dealt with that directly, it’s impossible to think that it didn’t color the lyrical and musical themes that presented themselves during the writing process for Departures.”

Departures showcases a much more developed, confident, and emotionally devastating sound in comparison to it’s predecessor, Mona. Trading shredding guitar solos for mournful slide guitar melodies, and traditional metal vocals for something more visceral and honest, DEATH WILL TREMBLE have set themselves apart by offering a truly unique addition to the world of heavy music.

DEATH WILL TREMBLE will perform at their official EP release show on July 7 at Come And Take It Live in Austin, TX. Also appearing on the bill will be Driving Slow Motion (Dallas, TX), Glassing (Austin, TX), and more bands will be announced soon. DEATH WILL TREMBLE have performed live support for countless touring bands in their hometown of Austin, including Crowbar, Lord Dying, All Shall Perish, Katatonia, and Caspian. Festival appearances include official showcases at SXSW in both 2015, 2016, and 2017, as well as the inaugural Housecore Horror Fest, organized by Phil Anselmo.



Leeds-based post-punk quartet Klammer present their new single ‘Modern God’, the first juicy taste of their new album ‘You Have Been Processed’, slated for release via Under Dogz Records later this summer.

Formed by UK Producer Steve Whitfield (The Cure, The Mission, Terrorvision, Jane Weaver) in 2014, drawing from the members’ shared love for all things angular, dark, loud and melodic. They’ve gone on to release two albums via Under Dogz Records.

Previously described as the love child of XTC and Gang Of Four, Klammer offer an enticing twist on the post-punk attitude, blending in elements of goth rock, punk rock and dark wave, all with dark pop sensibilities. Here you’ll find plenty of hooks and a dark and edgy broodiness coursing through their sound.

‘You Have Been Processed’ will be the band’s third album, following up ‘Auslane’ and ‘Klammer’ and their debut 7” single ‘Everything Depends Upon The King’. Championed by Steve Lamacq on BBC 6 Music, Klammer’s music continues to excite with their dark themes allied to catchy riffs and anthemic choruses.

Klammer have been consolidating their position as one of the country’s finest live post-punk acts, having played up and down the country consistently, both as a headline act and in support of other notable artists, including The Skids, The Undertones, Richie Ramone, Penetration and The Membranes, as well as Rebellion and The Great British Alternative festivals.

‘Modern God’ is available across online stores and streaming platforms as of May 11, as well as from Klammer’s own website and Bandcamp. The forthcoming album ‘You Have Been Processed’ will be available on vinyl as well as CD.



When Omar Afzaal (guitar, vox) woke up the morning of his wedding, he already knew it would be the biggest day of his life up until that point. What he didn’t know is that he would meet Charles Sloan (bass, vox) that same day. The two would go on to play music together in 2013, resulting in some demos. It was when Afzaal and Sloan turned to Craigslist to find a drummer, eventually linking up with Wes Black, that the brotherhood of Language was born.

Following two self-released EPs, the band now announces their signing to Brooklyn-based label Good Eye Records and their forthcoming Plymouth EP.

Language has been something of a best kept secret in the live music landscape in NYC. Their experimental while unflinching stylings are the product of three individual talents committed to their artistry, enjoying the hell out of playing with each other the whole way.

Their status earned them a support for Shame in late 2017, with Plymouth set to bring them to the attention of the music-enjoying populace at large.

Stay tuned for more from Language and be sure to follow them on their social outlets detailed below. Plymouth is out May 18th and is the sixth release from Good Eye Records!


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