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Press Release Roundup: September 7

posted September 8, 2018, 12:06 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.

Mac Miller


We at M.E. are saddened to hear about Mac Miller’s untimely death today at the age of 26.

Peep a recent live performance of “Hurt Feelings” off his latest album ‘Swimming”.

Art of Cool Fest


The Art of Cool Fest returns to Durham, NC later this month for its 5th Anniversary Edition and features a stacked lineup.

Peep it below and get tix HERE!

Lyrics Born


As one of the first and few Asian-Americans to perform at Lollapalooza and Coachella, and one of the only Asian-American rappers to release a greatest hits record, LYRICS BORN has broken through countless barriers to cement his illustrious career. Now, on September 14th, he will be the first Asian American solo rapper to release a 10th album — a record of funk and soul woven into classic, boom-bap Hip Hop called Quite A Life via Mobile Home Recordings.

Quite A Life features a legendary line-up of guest musicians, including the heavily buzzing artist Aloe Blacc (“Brooklyn In the Summer”, “I Need a Dollar”, Avicii’s “Wake Me Up”), Del Tha Funkee Homosapien, Gift of Gab (of Blackalicious), Galactic, and Chali 2na (of Jurassic 5). LB comments, “Aloe was incredible. I’ve known him for 20 years and watching his career develop has been super inspiring. I couldn’t have asked for a better line-up – I’m very thankful to all of them and am here whenever they need me.”

Quite A Life also embraces and ruminates on the hurdles that have followed Lyrics Born through his life and career — Asian-American representation in the entertainment industry, the responsibility of men to help correct social imbalance, the massive complications and emotional strain that follow a loved ones cancer diagnoses, and even defining what it means to be a “Blue Collar Artist”.

“Ten albums is a lot for any artist, let alone a career, indie artist who always colored outside the lines,” says Lyrics Born. “Because Asian-Americans are perhaps the most underrepresented ethnic group in show business, I have had almost no footsteps to follow in over the years. This is why I’m so honored to be one of the emergent among us to be able to co-create that legacy. I don’t want it to be as difficult for others that look like me, whose names end in vowels like me, as it has been for myself. I’m just appreciative there was always somehow a path for me, no matter how impossible it seemed, either on paper or in practice. We have greatness to contribute to the world, and we’re finally seeing breakthroughs.”

Lyrics Born kicks off the album with a funk driven party earworm “Chocolate Cake”, flaunting the influence from New Orleans where the majority of the album was recorded. He keeps the energy high though the empowering “Don’t Quit Your Daydream”, which chronicles the trials and tribulations of being a professional musician and the extra hurdles that arise for Asian-Americans in the music industry. Later, the grooving “In Case Of Fire”, co-written with David Shaw from the Revivalists and featuring both Kelly Finnigan from Monophonics and Galactic, dives the album deeper into it’s 70’s funk roots.

In the second half of the album, Lyrics Born adds an impassioned cover of James Brown’s “It’s a Man’s Man’s Man’s World” donning the reworked title “This Is A Man’s World?” and new lyrics that bring the message to relevance in 2018. He demonstrates that you can love an artist while still understanding that their ideas don’t always age gracefully. “No one is a bigger James Brown fan than me. The song is a classic, but the message needed updating. I love using the third verse as a bulletin board for posting what requires correction in the world, because unfortunately it’s usually one of us men who’s created the imbalance. We as men need to take responsibility for our roles, and make the necessary moves toward change wherever and whenever we have the power to.”

In the later half of the record comes an incredibly blunt and emotional track called “Can’t Lose My Joy” (Featuring Aloe Blacc) where Lyrics Born discusses the intense complications that came with his wife, hip-hop and soul singer Joyo Velarde’s cancer diagnosis.

“This was by far the hardest song I’ve ever written in my career.. I had a very hard time opening up about the concept with Aloe Blacc, and when he sent me the chorus he wrote and recorded, I just cried. He captured my feelings so accurately, it floored me. I, like the majority of Americans, have a loved one that deals with cancer or another terminal illness on a daily basis. We are blessed to be in remission now, but with that demon looming, you are never totally at ease in life. Seeing it thru successfully gives you the confidence that no obstacle is insurmountable when you have spiritual grounding, love and support from the people that matter to you. If nothing else, that is what I want people to take away from this song. Hope.”

The track also hits on the flaws of US healthcare and the difficulties they can create for what he calls a “Blue Collar Artist”. “I think that as Recording Artists, because we are fortunate enough to follow our calling, and we are so adept at self-marketing and imaging, there is a myth that we are billionaires, who live trouble-free, extravagant lives,” explains Lyrics Born. “The truth is, the majority of us get up every day and go to work because we have to, just like most Americans, with no guarantee that our next song, album, or tour will be a success. We face the same obstacles and uncertainty that all working people face, and our fortunes can rise and fall equally as fast. Quite A Life, indeed…”

In addition to establishing himself among the upper echelon of indie Hip Hop artists, LB has expanded his empire into film. This year, he has roles in Boots Riley’s Sorry To Bother You and the Netflix film Always Be My Maybe starring comedian Ali Wong, Randall Park (Fresh Off The Boat) and Keanu Reeves.

“I’m funny, or so I’m told [laughs],” LB says.“I absolutely love comedy and being ridiculous. These past couple films have been an incredible experience. I’m especially proud to be a part of films that challenge norms and it doesn’t hurt to work with your friends either.”



Rising alt-rockers FEVA storm back into the limelight with gripping new single Uneasy, furthering their reputation as one of the North East’s biggest emerging indie talents.

With a seemingly endless production line of ready-made anthems, the Newcastle quartet continue to impress with their heaviest release to date, a relentless onslaught of noise that draws welcome comparisons to the likes of Sundara Karma and The Amazons.

“It’s not as much of a story but more of a statement”, the four-piece reiterated. “The expectations of life can often leave us well and truly out of our comfort zone, torn between yesterday and tomorrow. Uneasy is a punk song at heart, simple and very, very angry. Forget yesterday, forget tomorrow, you’ll get it right eventually”.

Having already clocked up impressive supports alongside Anteros, Baby Strange and The Pale White in recent months, demonstrating their fierce live reputation in the process, the band’s widespread tastemaker approval (The Line Of Best Fit, Clash, Dork) and radio airplay (BBC Radio 1) leaves them well-placed to make their mark ahead of a busy autumn.

Kimono Loco

Band Shot 1 Hi Res

Kimono Loco share ecstatic single “Big Boy” via Nothing Important Records. The single is the first lifted from their upcoming and highly anticipated EP. Produced by none other than acclaimed Irish producer and Westwood Studios engineer, Shane Shanahan (Kygo, Scott Walker, Pharrell Williams, Kanye West, Frank Ocean & more), alongside the band’s own vocalist James Hofbauer, it’s sure to exceed any emitting expectation! Receiving airplay from hosts such as Bishop FM, the band has also received radio play from various smaller stations across the London.

South London-based, and formerly known as “Regions”, they performed for the first time in a small west London pub in 2014. Kimono Loco then shed their undecided skin and came into fruition being through the unexpected encounter of long-lost friends James Hofbauer, who handles vocals, Alejo Sonnenberg who plays drums, Chris Godfrey on guitar and Luke Hamlin playing bass-guitar. After some tweaking and adjustments, Kimono Loco was finally a fully fledged force, continuing to develop and hone their undeniable skills as musicians; dabbling in all forms of sound; from indie-rock to new-wave, funk and dance to disco – all merged into constant conversation through their deeply-rooted pop sensibilities. The band has since been performing all over, even supporting indie-pop quartet Corella at 93 Feet East, a famous London nightclub in May 2018.

Influenced by acts such as Fleetwood Mac, Genesis/ Phil Collins and Michael Jackson who are known for incorporating extensive elements from genres of the ‘80s and ‘90s such such Synth-Pop, or New-Wave etc, Kimono Loco’s eclectic and genre-bending sound could best likened to an array of artists such as The 1975, The Neighbourhood, The Temper Trap and Kygo.

Kimono Loco’s slick new single “Big Boy” is an elevating, enthralling and uplifting excursion through what might be an exclusive look into the trials and tribulations of growing up. Consistently fresh vocals and ‘80s infused-synth action all sit atop, precise, solid drum work, deep basslines and playful guitar hooks, making it increasingly difficult not to hit repeat over and over.

On the latest single “Big Big”, Kimono Loco comment: “‘Big Boy’ is our most ridiculous track yet, and we wouldn’t have it any other way. You can hear much more of the 80’s in this EP and that’s something you can expect from us in the future.”

Ezza Rose


Portland’s dream rock / psychedelic pop band, Ezza Rose, are gearing up to release their forth album, No Means No, on September 21st. The band shares their second single, “Baby, Come Down” via Culture Collide, and shows the incredible range this album encompasses. Culture Collide says, “While the band’s previous single [“No Means No”] is a biting post-punk demand, “Baby, Come Down” is a vintage dream pop ballad, straight from that aforementioned decade [the ’60s] we love so much. More the observation than a battlecry, the tune is a stripped and wistful take on society’s obsession with distraction.”

First single and title track, “No Means No,” debuted on Bust Magazine, who calls it “a song that connects with the #MeToo movement.” The video for the single is spine-chilling in it’s reliability for those fighting for feminism. Bust says, “we see men with blurred-out faces harass women on the sidewalks, in the office, on public transportation, and in the park.”

The end of the video is likely the most powerful, as the energy ramps up, and we see women defending themselves at work in the face of harassment and clips from the Women’s March. The last scene sends a message that’s hard to ignore, as we see a young boy watching the actions of an older man, who’s creeping on a woman who’s sitting on a park bench and completely unaware that and she’s being photographed without her consent. The last scene is the intrusive man and the innocent boy locking eyes and begs the viewer to consider what example we’re setting for the next generation. Throughout the video, we see the symptoms of what perpetuates harassment: people not speaking up, men in positions of power telling upset women to calm down, and overall unwarranted aggression towards women who aren’t interested in sexual advancements from these men.

Describing the message of the song, Ezza Rose tells Bust:

“Words have meaning, and when meaning is disconnected from words, communication is lost. My mother always said things to me like, ‘No means no,’ and ‘Sorry isn’t good enough,’ which frustrated me as a child, to feel powerless against her words. The women in my family value their words this way, following their intention through to action. Later in life, I realized the value of this foundation they had built in me. Today, I also stand by my word and hold myself accountable for the actions and ideas my words convey.

“I’m confused when others don’t take my words at face value, that society gets to choose whether or not I am heard. I know others have struggled to feel heard their entire lives, and it’s powerful to finally see that struggle acknowledged and addressed in societal movements towards equality.

“The content of this album, No Means No, covers the landscape of interaction between people, both in the public eye and behind closed doors. It’s a reflection of my frustration with those who choose not to respect the meaning of, and intention behind people’s words. ‘I don’t want to tell you that No means No’…but I will, for now.”

On her new album, No Means No, Ezza Rose’s musical identity continues to evolve. Track by track, the band digs under their fingernails into society’s ethos, combining driving rhythm, aggressive electric guitar, and dreamy vocal melodies with lyrical grit. The result is a work that covers the complex landscape of interactions and accountability between people, ranging from the public eye to behind closed doors.

The Love Coffin


After two promising 12” EPs, ‘Veranda’ (2015) and ‘Buffalo Thunder’ (2016), the Copenhagen-based rock quintet The Love Coffin is finally ready to unleash their debut album. The nine-song long-player is entitled ‘Cloudlands’ and will be released September 28th in a Danish/French joint venture between the independent stalwarts Bad Afro Records and Paris-based Third Coming Records.

The Love Coffin’s songs are all about contrasts – be it in the music, which shifts effortlessly from finely spun melodic melancholy to searingly dissonant bursts of noise – their lyrical themes, which can best be described as pendulous journeys between ominous, tar-black depths of despair and bright shafts of cheek-blushing optimism – or in the schism between frontman Jonatan K. Magnussen’s wildly intimate, volcanic vocals and the cinematic expansiveness of the sonic imagery his bandmates conjure around him.

Sure, you might be able to glean bits and pieces of the patchwork of influences that has led to The Love Coffin’s sound – particularly the unforgiving, magmatic squall of the New York noise rock scene of the 80’s, the sepia-dusted, grimy wide-screen perspective from the post-punk that came out of Australia in the same era and last, but not least, a knack for burying lush pop hooks under a rough-hewn bedrock of ugly guitars, Trojan horse-style, not unlike the pioneers of British shoegaze did it.

This band, though, is first and foremost a beast of its own making. Beneath the bruises you will find both tenderness, raw-hearted honesty and a dizzying talent. These five guys are here, they’re now, and they’re going straight for the jugular. Embrace the darkness or fend it off; you probably won’t escape unscathed, but you will live to tell the tale of The Love Coffin.

‘Cloudlands’ is recorded at the Grapehouse studio in Copenhagen and mixed by Kristian Alexander Pedersen in Berlin. The album is mastered by Emil Thomsen and comes in a neat gatefold sleeve with daring photos by Jennette Laven. The LP is limited to a 1000 copies on black vinyl.



Maryland rockers Clutch have been pushing the boundaries of heavy rock music since the 4 original members got together in high school. Having been tagged hard rock, blues rock, southern stoner rock and alternative metal by media and fans across the world it is safe to say one thing… “What you see is what you get” and what you get is a musical force that has been best described as the quintessential American Rock Band. Clutch quickly became known for their relentless touring schedules, playing shows from whiskey stained 2 door venues in the hills of West Virginia to the iconic Brixton Academy in the UK. Whatever the venue, and wherever rock fans congregate Clutch has played there. The band has shared stages with Lamb of God to Iron Maiden, Primus to Thin Lizzy, Mastodon to Motörhead. What has come of it is a cultlike International fan base, not to mention praise from all corners of the music world.

“Few bands exude such cool and confidence, such adept musicality, and above all else, an ability to entertain to the extent that every performance feels like an historic event.” – Alex Milas

Clutch’s “The Regulator” was the first outside, original song by a band to be featured in the AMC series “The Walking Dead” (S2/ mid season finale). Country music megastar Eric Church uses Clutch’s “Electric Worry” to open his live set.

“Psychic Warfare”, Clutch’s latest studio album, released via their own label Weathermaker Music debuted #1 on the Billboard Hard Rock chart and #1 on the Billboard Rock chart.

As we start 2018, Clutch has just wrapped up the tracking of their new album BOOK OF BAD DECISIONS with producer Vance Powell at Sputnik Sound in Nashville TN. The new record will come out September 7th, 2018. Three singles have been released in anticipation with these videos:

The band has been releasing weekly videos with some behind the scenes of their 12th album.

Charlotte & Thieves


“The Machine” gives a promising taste of the soulful, sexy rock and roll that will feature prominently on their debut EP, out this fall. The single builds around a small and warm sound image but grows in prominence throughout, finishing with a crescendo that make chairs stand on end. With lyrics about a female protagonist, lead singer Michael Besseberg espouses about a a woman with great artistic qualities that becomes weighed down with routine work. In many ways, it paints a dire picture of the world’s current state. A place where artistic expression is suppressed to maintain a life that continues the machinations of society. They dig into why we hide and suppress our artistic abilities. Michael explains that he “is the perfect example (of it). I didn’t dare touch my artistic side until I was nearly 20…and I’m sure plenty of my friends are still unaware of what they can achieve.”

This single is the purest example of who Charlotte & Thieves are as a band. From bassist Andreas Rukan’s first hit, we caught on and it all fell into place. That dynamic expands and when the refrain opens, that’s when the church bells ring. It’s as if the song is an existing equation and we all provide the pieces to answer it.”

Simon Alexander


After Simon Alexander released his debut EP “Won’t Be Found” back in 2017 and also gave us a lovely Spring-indie-song called ‘Slide’, the Swedish Songwriter is now about to release his upcoming single ‘Last Dance’. Simon Alexander’s style reminds of a modern indie pop symbiosis between songwriter icons like Tom Walker, Stu Larsen and Hamilton Leithauser. ‘Last Dance’ will be published on August 31st and is a hymn for all those, who try to get out of their comfort zone and to take that one chance that is facing them.

“Being young can be tough. You go through a lot of changes, you fall in love, and you make a lot of mistakes along the way. At least I did. With this song I wanted to step out of my comfort zone and make a fun and danceable anthem for all of those who wish that they had taken the chance when they had it. Whether it be telling someone how you really felt, or ask someone for one last dance.”



“This song was pure therapy. It has helped me cope with the death of two of my friends, both of which turned my whole world upside down. I hope this song can help others. So many people are affected by suicide, whether it is the death of someone close to us or an idol.”

Ishani’s ‘Dark Angel’ may be her best song yet, but the difficulty with such an assertion is that it belies the pains involved in creating it. ‘Dark Angel’ is certainly the most difficult to write of all her songs so far. “I have lost close friends to suicide,” she says of the song’s subject, “and recent events have forced me to revisit this song, – we are living through a time of increased awareness of mental health, but we still see so many people ending their lives.” Despite the abject darkness of the theme, and despite provocative lyrics that leave little to the imagination, (“stay with me here until we are dead” she urges those grappling with suicidal thoughts), there is a sense that Ishani has made leaps with co-producer Zaflon towards emerging with a distinct sound. There is enough in the melodies and the beautiful harmonies to suggest a child of the No Doubt/‘Bring Me To Life’ school of goth-kid pop hooks, but more than that, there is the suggestion of an artist whose sound may evoke certain styles, but whose delivery is in a class of her own. Ishani has the vocal confidence of musicians decades her senior, and in her pained and hair-raising performance of ‘Dark Angel’ you can already see her beguiling star power.

French Horn Rebellion


Comprised of brothers Robert and David Perlick-Molinari, electro-funk group French Horn Rebellion brings a lifetime’s worth of natural chemistry and ecstatic energy to everything they do. The beginning of 2018 continued the duo’s success with the release of their latest Billboard and BBC Radio 1-featured single, “Rooftops,” “Mr. Romantic,” a joint track with rising UK nu disco trio Patawawa, and “Just Werrrk” featuring legendary singer Jody Watley, all out on their Brooklyn-based studio/label collective, YouTooCanWoo.

Now, French Horn Rebellion are sharing a new single, “Soy Bonita,” featuring rising dancehall star Marcy Chin.

Along with the release of “Soy Bonita,” French Horn Rebellion will be embarking on a tour of Mexico plus a Los Angeles date for their acclaimed YouTooCanWoo “Night Out” series planned for October 5th.

Since forming in 2007, French Horn Rebellion has gained a worldwide following and has performed on five continents with an eye and ear always attuned to and in search of the best parties and collaborators. The group has been fortunate enough to perform and work with luminaries such as Beyoncé, Of Montreal, Cut Copy, Yelle, Hot Chip, St. Lucia, The Drums, Two Door Cinema Club, SebastiAn, Autograf, and OMD. French Horn Rebellion’s sound has also lended itself naturally to style as they have has also performed at fashion weeks in New York (Lincoln Center), Paris (The Louvre, Jean Charles de Castelbajac), and Berlin (Pull & Bear).

Look for “Soy Bonita” out now and be sure to check out their upcoming dates listed below.

Five For Fighting


Grammy-Nominated singer-songwriter, composer John Ondrasik, aka Five For Fighting, will be releasing a new album Five For Fighting Live With String Quartet. Together with the FFF string quartet Ondrasik will be on tour playing a series of unique and intimate dates beginning September 12, 2018 in Franklin, TN (tour dates below and here). The new album will be exclusively available to those attending the shows until its release later this fall. Five For Fighting will be playing the hits, such as “Superman” and “100 Years” along with fan favorites, “Chances,” “Two Lights,” “What if,” and “I Just Love You,” as well as adding songs from Ondrasik’s twenty year+ catalogue.

“I’ve been blessed to work with world class composers throughout my career and this permutation of Five For Fighting allows me to present a selection of songs that highlight their amazing arrangements,” says John Ondrasik. “The new album allows me to pull a catalogue of songs that presents my music in a way never heard before. Of course, we play the hits, the misses, and tell some stories along the way. And what a group of players we have! I’m humbled and inspired by their musicianship and fiddle mastery every night.”

Five For Fighting was recently the musical voice of season three of the Rob Lowe, Marcia Gay Harden show Code Black (CBS) performing four cover songs as well as co-producing a special gospel version of “Superman” which was the series finale featured end title. The soundtrack is available on iTunes now. Five For Fighting has also written “Song of the Innocents,” the end title to the upcoming film Gosnell, out October 12, about the shocking true story of the investigation and trial of Dr. Kermit Gosnell. “Song of the Innocents” will be available on all music platforms October 5.

John Ondrasik has spent the past two decades writing deeply personal songs that include social messages, invoke the human spirit and make an emotional connection. With the past six albums selling over three million records. Five For Fighting’s breakthrough came in 2001 with the Grammy-nominated song “Superman,” and his performance at The Concert for New York. Ondrasik proceeded to become part of the American songbook with the hits “100 Years,” “World,” “The Riddle,” “Chances,” and “What If.” Ondrasik has also been deeply involved in philanthropic efforts highlighted by his CD for the Troops project that distributing over a million free CD’s featuring the biggest songs of superstar artists to servicemen and their families around the world. Most recently John has added keynote speaking to his repertoire, speaking and performing to a diverse group of companies and organizations around the world.

Linda Em


London-based Irish-born songstress Linda Em presents her new single ‘Two Hands’ ahead of her ‘London Irish’ EP, to be released on September 21 via Talking Elephant Records. This new single comes on the trail of her blazing ‘Wild Fire’, a sultry earworm of an EP teaser.

This EP is the first step in a different direction for Linda, towards a more atmospheric and spacious sound and vocal performance. It is both poetic and storytelling while still being brutally honest and personal. Her pure and raw vocals beautifully convey a nostalgic lyrical narrative, her warm endearing vocals drawing the listener into her musical story telling.

The ‘London Irish’ EP was recorded, produced and mastered at Orphan Recording, Dublin by Gavin Glass (Paul Brady, John Grant, Lisa Hannigan, Mundy), who is also music director for John Carney’s film ‘Sing Street’). It was mixed by Scott Halliday (John Grant, Lisa Hannigan and previously guitar tech for Prince and James Vincent Mcmorrow).

‘Two Hands’ is about seeking a safe, quiet space in which to gather strength when the trials of your everyday life feel overwhelming. Linda Em co-wrote this song with Ian Montague.

“There was a particular point in my life where I felt very alone just been kicked out of college and my mum and brother were both in hospital. I was the main caregiver. I went into the church at the end of the road and sat asking for something (I didn’t know what). You light a candle and expect god to be at the end of the bed that very night. I used to search for churches in-between the madness” is me reflecting on those moments. When we cannot fix something, we always try to go to a higher place for help and as a young person whose family was not “normal”, I looked for that more often,” says Linda Em.

“As we grow and work on self, we realise that the higher powers we are seeking are not some greater godlike figure but something within ourselves, even if it’s just simple acceptance. That’s why the end of the song refers to that “bitter sweet surrender” of letting go and letting go of ego “humiliate me slowly” of being willingly open to vulnerability and letting go of pride. And also of being reborn spiritually “open me unholy again and again“, each able to become our own superhero.”

Originally from Waterford, Ireland, Linda’s family immigrated to London’s East End in the 1980s. A natural singer, songwriter and storyteller, her lyrical narrative is comparable to that of authors, poets and playwrights with a strong visual essence, stimulating the listener’s own imagination. Her music explores a wide array of themes from forgotten fateful stories and uncelebrated heroines of the past to her own personal and family experiences. 

Linda first started singing blues and rock ’n’ roll in pubs and clubs in her early twenties before meeting Chris Wyatt, with whom she wrote and recorded her first album ‘Shadow Lands’ in 2015. Her sound has grown to adopt strong elements of Americana and folk noir with an ominous and atmospheric Celtic undercurrent to it and splashes of gospel and soul.

“As a lyricist I’m telling a story and, through working with producer Gavin Glass, I think the musical side reflects and illustrates that. Gavin has managed to give the songs and sound a strong cohesiveness even though the songs are all written with different people,” says Linda Em.

Linda draws an ethereal energy flow from her inspirations, citing numerous artists as influences, including Leonard Cohen, Edith Piaf, Nina Simone, Portishead, Hank Williams, Ennio Morricone and the poetry of Ted Hughes.

Linda Em produces music in an extraordinary mix of influences and genres, blending folk (revisited from a current London / Irish cultural perspective), pop rock, Celtic melody and American blues. Her music is timeless, filtering new compositions through the prism of her musical heritage to produce an overall modern day eclectic feel.

Dolores Haze


After returning earlier in the year to release their single ‘Banana’, a retort to the recent #MeToo movement and first new material since their debut album ‘The Haze Is Forever, Swedish trio Dolores Haze are back with their latest electro-pop swoon ‘Play Hard F*ck Hard Love Hard’.

Much like ‘Banana’, ‘Play Hard F*ck Hard Love Hard’ continues the band’s unrelenting attitude towards female empowerment in the music industry, yet sees them adopt a far softer approach in the process.

While their last release unleashed the bold and brash side to their direction, ‘Play Hard F*ck Hard Love Hard’ aims to highlight the more contemporary pop side to their style, taking cues from other Scandinavian artists such as Tove Lo and Sigrid in the process.

Speaking about the new track, the band says that, “This song is for all destructive party people, looking for love in the wrong places, loving the wrong people too hard. Giving so much but never seem to feel content. Going around in the same circles. End up feeling nothing but emptiness”

It is clear from this new aesthetic that Dolores Haze are beginning a new journey and looking to branch out from their familiar ways. ‘Play Hard F*ck Hard Love Hard’ may be titled like a typical Dolores Haze song, but the feel and vibe of this new record is something fresh and exciting for them, showing they are now at the b

Suicidal Tendencies


Heavy music legends SUICIDAL TENDENCIES recently announced the upcoming release of their latest album, STill Cyco Punk After All These Years, out September 7, 2018. STill Cyco Punk After All These Years is a re-recording and re-imagining of a Cyco Miko (Mike Muir) solo album recorded in 1995, originally entitled Lost my Brain! (Once Again). The album is an auditory time capsule – afull-on Cyco Punk record taken to a whole new level – featuring legendary drummer Dave Lombardo brutally beating the songs and sound that is made to get your slam on.

In conjunction with the release, SUICIDAL TENDENCIES is pleased to reveal details about their upcoming Converse collaboration. The new Converse x Suicidal Tendencies collection will be available the same date as the new album, September 7, via and select retailers. To celebrate, in Converse’s hometown of Boston, the collection will be available at Bodega Boston, in a pop-up on September 6 from 11:00 AM to 8:00 PM and on September 7 from 11:00 AM to 8:00 AM, before the SUICIDAL TENDENCIES show at the House of Blues in Boston.

Vocalist Mike Muir’s relationship with Converse started long before SUICIDAL TENDENCIES. “When I was young, I still remember getting my first pair of ‘Chucks’ for my birthday and how stoked I was to wear them to school the next day,” says Muir, reflecting on the iconic sneaker. “It was almost like a rite of passage, the beautiful thing about them is whatever ‘direction’ you were headed, you could go there with your Chucks.

Converse x Suicidal Tendencies is a collection of Chuck 70’s and accompanying apparel based on digital and screen-printed graphics in the classic style of Ric Clayton, who designed posters and fliers for the band back in the ’80s. The Chuck 70 HI’s vintage canvas upper features an all-over digital print and the SUICIDAL TENDENCIES leather patch on the lateral side. An Ox version, comes in black with an all over digitally-printed lining. The SUICIDAL TENDENCIES logo is printed on the tongue and heel. Both the Hi and the Ox pair feature two sets of additional laces including a SUICIDAL TENDENCIES printed logo lace.

All apparel, which feature original, screen printed SUICIDAL TENDENCIES artwork, include a woven poplin shirt, two pull over hoodies, a pair of sweatpants, a pair of sweatshorts, one long sleeve tee, and two short sleeve tees.

The footwear will retail for a suggested retail price of $90-$95 USD. Apparel will retail for SRP of $35-$80 USD.

“All these years later, Converse has the same meaning to me,” adds Mike Muir. “Just as young Mike will never forget putting on his first pair of Chucks, I can’t wait to relive that amazing feeling with the new Converse x Suicidal Tendencies, a massively proud moment for the band, our fans and of course me personally!”

Mark Pelli


Based between Los Angeles and Toronto, Canadian multi-instrumentalist, singer and producer Mark Pelli has shared latest single “You Changed Me” on 13th July. Co-founder for the critically acclaimed Canadian reggae-pop-fusion group MAGIC!, Pelli wrote the earworm vocal hook for their hit single “Rude” which achieved #1 status on US Billboard charts for 6 consecutive weeks and also hit #1 in many other countries around the world, gaining the band and Pelli himself a Juno Award for Breakthrough Group of The Year. Mark Pelli has also performed with legendary songwriter Stevie Wonder in the south of France at a coliseum while on tour with fellow soul artist and vocalist Justin Nozuka.

As well as being a prolific and experienced songwriter, Mark Pelli is also notable producer and engineer, and has produced records and tracks for many top artists including Usher, J Cole, Chris Brown, Shakira, Anthony Hamilton, Trey Songz, Sabrina Claudio, JoJo, Marsha Ambrosius, Jennifer Lopez, Classified, the legendary Diane Warren and many, many more. These credits include co-writing the 2012 hit single “Don’t Judge Me” by Chris Brown, co-writing “Inner Ninja” with Canadian hip-hop artist Classified ft. David Myles in 2013 and co-producing American rapper J Cole’s first album single “Kevin’s Heart” on his 2018 LP, “KOD”.

Born into a musical family in Toronto, picking up a piano at just age six, Pelli takes inspiration by nostalgic motown and soul artists Sam Cooke and Smokey Robinson, to more modernized contemporary RnB or pop artist Leon Bridges – Pelli’s wonderfully unique sound could be more comparable to singer-songwriters such as John Mayer and Ben Howard.

Mark Pelli’s latest single “You Changed Me” sparks open with guitar harmonics, and Pelli’s subtle, yet velvetine voice whirls around full, deep bass lines, ‘60s inspired percussive techniques, hypnotically fixed organs and of course, a skillfully polished guitar solo to set the mood, and dim the lights for the rest of this refreshing, relaxing experience.

On the latest single, Mark Pelli comments: “This is a bitter sweet song about love and confusion. It’s written in a classic style – I was very much influenced by the music of Sam Cooke and Smokey Robinson while writing and recording this song. I attempted to make it sound retro as if it had been recorded on an analog tape machine.”

Kallee Brookes


Kallee Brookes aka Queen of the “Fairy Trap” scene was born and raised in Compton, California. Contrasting her sweet, lullaby tones and soft voice with dark trap beats, Kallee has authored her own original, genre bending style. Her first single, “Ownership,” was released in June 2018 and was a great introduction to Kallee’s colorful style and unique voice. Now, with the release of VIBE, Kallee explores an almost angelic delivery followed by some ill rap lyrics to depict her care-free Hollywood Hills lifestyle.

Cosmic Strip


Dreamy shoegazers Cosmic Strip share their latest irresistible dose of psychedelia in new single Sugar Rush, taken from the band’s debut EP Heavenly out today (31st August).

Marshalled by supremely talented frontwoman Camella Agabalyan, the London outfit have already attracted a ton of praise with widespread acclaim throughout the online community and encouraging festival displays at the likes of The Great Escape, Citadel and Wilderness.

“I wanted to write a song about the feeling of addiction whether it’s sugar, love, a drug, whatever your vice is”, Camella stated. “I personally really connect to dreamy, druggy songs like Air, My Bloody Valentine, Beach Fossils, Slowdive, The Jesus & The Mary Chain etc so I wanted to inspire myself from that feeling but also show the darker side of addiction that you might not always get from those types of songs”.



Kinney’s vocals soar in this gem of a track, literally making us stop and just enjoy the 3 ½ minutes and finding joy in the minutes of the day that most cases seem to just fly by without anyone noticing. Fully exposed and nothing to hide with the minimal production behind it, the focus on the vocal deliver and uplifting lyrics of the song, that are being intrinsically reflective and hopeful of what’s to come.

Kinney is a Los Angeles-based singer-songwriter, acrobatic dancer and yogini on a mission to use pure heart-centered expression to radiate joy, freedom and ecstatic light energy into everything she creates. Her music is a combination of heartfelt universal love and playful artistic choices that vary from glorious cuvees of lyrical craftmanship and grace, uniquely particular in the latest release of “Petah Bread Rocketship.”

Kissing is a Crime


Kissing is a Crime was conceived by singer/guitarist Matt Molnar back in 2012, but formally coalesced only in the last year or so. The intervening time was spent writing, demoing, perfecting, and planning.

Raised in New Jersey, Molnar spent his formative years performing in punk and hardcore groups before relocating to Brooklyn where he co-founded the bands Soft Black, Friends, and Pagan Rituals. At the same time, the singer/guitarist was accumulating material for a different type of project — one that would draw from his background in DIY and punk, but also tones of vintage guitar pop.

When Molnar arrived in New York City during the mid-00s, there wasn’t much context for the music he was pining to play. While playing in other people’s bands, he met singer/bassist Beatrice Rothbaum, an NYC native with a similar sensibility. Soon, Molnar began sharing his bedroom recordings with Rothbaum and they encouraged each other’s writing.

Just as punk’s volume and urgency deeply resonated with the duo, so did jangling guitars. “There’s something about the sound that just has this pure beauty,” Molnar explains. “When I first heard Heavenly, or The Housemartins, or The Byrds, it was just, like, ‘This is how it sounds to feel really good inside.’” However, the pair also recognized that the music could frame a wide spectrum of emotions — sunny optimism, but also melancholy, paranoia, and alienation. In Kissing is a Crime’s music these feelings often exist in close proximity to one another. Glimmering riffs evoke nostalgia and innocence, while the lyrics present cryptic imagery that alludes to lust and angst. There’s a spirit of confrontation that nods to Molnar’s roots. “I just wanted to bring part of that sound into my own world,” he says. “I knew punk would have to be part of it.”

After a few fits and starts the duo honed their songwriting and brought it to life with a full band, which at the present includes guitarist Larry Sass-Ainsworth, and drummer Alex Feldman. The record consists of 11 songs recorded at SpeakerSonic Studio by Jarvis Taveniere (Woods) and produced by Molnar. The songs are new, but also the product of years of tinkering and exploration. “Basically, I was trying to do this band during every band that I’ve been in,” says Molnar. “This is the band I’ve been trying to do for a long time”

Beach Season


Today marks the release of Beach Season’s “Best Behaviour” single. The Canadian duo comprised of Sam Avant and Simon Blitzer create a densely textured song that seamlessly blends their unique brand of infectious R&B, electronic, and contemporary pop. Without sounding forced, the sensual and romantically urgent hook pulls you right in and keeps you there.

Calgary-based twosome Beach Season present a unique view on modern day musicmaking. Moving from their critically-acclaimed 2016 EP Libra Year, towards the forthcoming EP Time & Place, the steadily rising Universal Music signed group’s new music reveals that they’ve carved out their own niche.



Heavy metal frontrunners INCITE – lead by frontman Richie Cavalera – are thrilled to announce select details about their upcoming fifth full-length burner, Built To Destroy, scheduled to drop in early 2019 via Minus Head Records. Produced by Steve Evetts (The Dillinger Escape Plan, Suicide Silence) and mastered by Zeuss (Rob Zombie, Hatebreed), Built to Destroy is a visceral, urgent, voracious distillation of modern metal with reverence for the past.

Nearly 15 years into a career in which everything they’ve accomplished was earned and nothing was taken for granted, INCITE bridges the gap between various metal sub-genres, but one thing is for certain – you will be banging your head in no time. This is a band who will open for Gorgoroth one night and Cancer Bats the next, converting true-believers out of everyone who crosses their path.

Today, INCITE dropped a new static video for their new single “Ruthless Ways”, originally revealed last month via SiriusXM Liquid Metal. Vocalist Richie Cavalera says, “Our new song “Ruthless Ways” is about being a piece of sh*t and it finally catching up with you. It’s the exact vibe we wanted to explode out the gate with. The song is brutal, catchy, and hella groovy. It’s a good feel for what to expect on this new album. Huge riffs, massive drums, bass for days, and a new vocal feel that to me is pure evil and nasty. We kept it real heavy – get your headbang on.”

The track can also be downloaded/streamed via iTunes, Spotify, Amazon, and Bandcamp.

As renegade disciples of trailblazing metal architects like Pantera, Slayer, Sepultura, and Machine Head, INCITE raise the torch for trend-killing and hipster-smashing metal. INCITE is as much a part of the fabric of the style championed by Lamb of God as the surge of newer bands like Power Trip. INCITE perfected their signature brand of extreme sounds by playing shows with DevilDriver, Crowbar, Brujeria, Soulfly, Cavalera Conspiracy, and Six Feet Under.

INCITE is currently out on their North American “Burn & Shred” headline tour, featuring support from Aethere (8/10-9/8) and Lody Kong (9/14-9/28). The band plans to perform the new tracks “Ruthless Ways” and “Built to Destroy” on the road. See below for all currently confirmed tour dates.

Photo by Jeremy Saffer

The Mutineers


Ahead of releasing their new five-track ‘Threshold’ EP and launching a busy 2018 national tour schedule, The Mutineers present the first single from this EP. ‘Couldn’t Get Over You’, a pleasantly wistful offering guided by a longing feeling and lulling melodic line.

A bit earlier, they unveiled the new video for ‘Drug For That’, filmed and directed by California-based photographer and visual artist Clovis IV. The track, previously released on ‘Live At B-Side’, will be offered as a bonus track on a special Bandcamp edition of the EP.

Based in Portland, Oregon, The Mutineers are a rock n roll husband-wife duo with country leanings and punk rock tendencies. With Brian Mathusek on guitar and Merry Young on drums, the couple share vocal duties. Sounding like a cross between Johnny and June with John Doe and Exene, and a bit of Nick Cave and PJ Harvey, their sound esthetic is influenced by such artists as Bruce Springsteen, X, Nick Cave, Loretta Lynn, and Elvis Presley.

“This was written specifically for Merry’s voice. I wrote the first draft of lyrics and she sculpted it to fit her style. Her world-weary delivery is the perfect backdrop to the story. The song contemplates the dual feelings of helplessness and power inside a co-dependent relationship,” says Brian Mathusek.

“The singer is struggling with self-confidence and self-consciousness. She can not decide if she has been too open or not open enough. I think everyone has someone in their life that they can’t stand, but also can’t live without, whether it’s a lover or a family member or a friend. Knowing when to cut someone off is very difficult. By the end of our song, the narrator has given up and given in to this cycle of love and hate, another lost soul.”

Co-produced alongside Raymond Richards (The Parson Red Heads) at B-Side Recording Studio in Portland, this is the band’s third EP and fifth significant release. Originally founded by Brian Mathusek and Michael Astudillo in 2007 and joined by Merry Young soon afterwards, The Mutineers debuted with their ‘Tidal Wave’ EP in 2008, followed by the ‘Nihilisteria’ EP (2009) and ‘From the Dirge to the Dance’ LP (2011). The new fully-arranged recordings diverge from the duo’s previous release ‘Live at B-Side’ (2016), which was recorded without any overdubs.

With this latest effort, The Mutineers have begun a new chapter, collaborating more closely in their songwriting process. Their latest songs feature characters who are flawed, stubborn and struggling with their demons. They wander confused, obsessed, addicted and envious, through the microcosms of Threshold in search of happiness, understanding and love.

The Mutineers will be touring nationally through the fall. In the past two years, they have given over 120 performances in 30 states. They have shared the stage with such notable artists as The Tallest Man on Earth, Langhorne Slim, Reverend Peyton’s Big Damn Band, Larry and His Flask, The Devil Makes Three, The White Buffalo, and Murder by Death. When not touring, the couple run a graphic design and screen printing business, Mutiny Studios.

In collaboration with Clovis IV, a visual storyteller, The Mutineers have continued exploring the visuals associated with their song themes, helping express their music, in still images and now on music video. Clovis started working in the visual arts in the early 90’s. Connected to the worlds of music and media, he has continued to express the stories of artists & individuals in still and moving images. Be it as a photographer or designer, Clovis has worked with many artists, including New Model Army, Thievery Corporation, Faith and the Muse, Concrete Blonde and Flesh For Lulu.

Rhian Sheehan


Rhian Sheehan returns with the new single, ‘Soma Dreams’, taken from the upcoming album A Quiet Divide, his first new album in over five years. Acclaimed for both his original music and his screen composition work, Sheehan’s latest piece of work is a sublime marriage of modern-classical orchestral chamber music, piano, and textural cinematic guitar and synth-pop soundscapes.

The single arrives alongside a video created from one of Sheehan’s long-time visual collaborators, Matt Pitt. Responsible for the video for previous animated videos ‘Standing in Silence Pt.3’ and ‘Little Sines’, Pitt again brings Sheehan’s cinematic world to life, animating motion capture dance footage from acclaimed visual artist Hannah Tasker-Poland.

Capturing the feel of the entire album, ‘Soma Dreams’ offers a preview for listeners to A Quiet Divide. His most cinematic and emotive release to date, the track encapsulates the nostalgic feel of the album, further expanding on the ambient/post-rock sound that has gained Sheehan fans across the globe.

Alicia Madison


The single, “Flavor” originally dropped right before the July 4th holiday, has amassed thousands of streams worldwide and became the quintessential track of the summer. And now, as we’re coming to a close with the summer, Alicia again provides some goodness by dropping the music video post-Labor Day Weekend. Vibrantly airy and bright productions with a dash of tropical house from Los Angeles-based DJ/Producer duo Niiko X SWAE, they perfectly compliment Alicia Madison’s sultry and sexy vocals throughout the verses before the hard-hitting drop comes in during the chorus line.

Based out of Brooklyn, NY, Alicia Madison is best known for her #1 Dance-hit “Insanity,” which received millions of streams worldwide and has appeared on every playlist for multiple weeks, as well as reaching #1 on Mediabase, topping the Billboard Dance/Mixshow Airplay Charts and is still currently #1 for the 3rd week in a row on Sirius XM BPM Channel 51.

With releases out on Revealed Recordings, Spinnin’ Records, Mixmash Records, Black Hole Recording, and more, Alicia has garnered support from top DJs and Producers around the world such as Tiesto, Hardwell, Armin Van Buuren and Steve Aoki.

Clark Twain


Austin-based indie pop artist Clark Twain has announced his new single ‘Try Too Hard’, a serene pop offering off his coming debut album ‘Life is Wonderful’. His music is influenced by such artists as Death Cab for Cutie, the Flaming Lips, Ben Kweller, and John Mayer.

“I think of songs as little spaces. they are created to be visited: like a room in your house, a nook in your hometown, a store on your favorite street. you know where it is, have an experience with it, and can go back to it to wander around as often as you’d like. I hope these little spaces I’m creating provide some refuge, a place to dance, and maybe even a place to bring a friend and eat tacos,” says Clark Twain.

“I wrote ‘Try Too Hard’ for the people I accidentally hurt in life. I can be stubborn and unintentionally cause harm to those I love and/or work with.”

This new track follows up Twain’s debut single ‘Fly High (Like Richard Branson)’, a fun and upbeat track that is infectious with high positivity. The fun, high-flying accompanying video was directed by Vanessa Pla, who also co-produced it with Clark Twain.

Clark Twain is the solo moniker of Clark Nowlin, who began playing guitar at 10, cutting his teeth on Metallica and Nirvana covers with friends in the attic and starting his first band a few years later. He eventually quit his day job to fully immerse himself in the world of music “because the gig money put enough gas in my tank”. After touring and recording with Tim Halperin and Marshall Young for a few years and supporting various artists, he amassed recording gear, learned the ropes, and began producing various musical projects.

Clark dedicated a solid 6-month block of time to working on his new material, beginning in January of this year, and splitting time between Elmwood Studios in Dallas, Clark’s home studio in Austin, and in Denton, Texas with Brack Cantrell, one of Clark’s all-time favorite producers, who also mixed his new material. Mastering was performed by Jon Törnblom.

“If music is to serve any purpose, it’s to remind us that we’re alive and that we’re not alone. For me, making it is a sign that I’m alive. Connecting with it is a sign that this big mysterious journey called life isn’t new territory and that whatever situation we’re in – someone’s already been there and has made it through,” says Clark Twain.

“I’m an eternal optimist and truly believe the best is yet to come in our experiences here on Earth. If there’s a shred of this hope embodied in this music, I’ve achieved my goal. I hope that these sounds put a little wind-in-your-sails when needed on a still day.”

Clark Twain’s ‘Try To Hard’ will be released on September 21. Already now, you can find his debut single “Fly High (Like Richard Branson)” through online stores and streaming platforms such as Spotify, as well as Bandcamp.

Lost Chocolate Lab

Seattle-based artist Lost Chocolate Lab has released his debut ‘Lost Landscapes’ album after earlier previewing two tracks – ‘Squall’ and ‘Contents / Weightless’. From soft blankets of distortion to hazy clouds of noise, this music is a long-lost love letter to the first wave of shoegaze six-string pioneers, where guitars caterwaul in-collision with cascading waves of reverberation and acrobatic effects-pedal atmospherics.

Here we find the guitar-based lyricism of Godspeed You! Black Emperor or The Grateful Dead, combined with the barely-guitar noise-explorations of My Bloody Valentine, Jimi Hendrix and Flying Saucer Attack.

Lost Landscapes is over 80 minutes of spontaneous guitar composition, rippling-with-waves of effects pedal manipulation, bilious clouds of feedback, and laser-sharp tendrils of sonic-storytelling. Recorded over a long-weekend in Seattlein the 2017 winter, base-tracks were laid-down digitally in 2 sessions of single-pass improvisations. Revisited with a second improvised pass of solo guitar atmospherics, this gave birth to the 10 songs on this album. Mastered by Heba Kadry at Timeless Mastering, these sound sculptures harness hi-fidelity emotions.

Lost Chocolate Lab is the solo project of guitarist Damian Kastbauer, who formed this noise-making unit following the disbanding of his Minneapolis band – noisepop shoegaze pioneers February (Carrot Top/ Saint Marie Records) in 1997. Formed as a platform to reach further into the moment through mostly improvisational works leveraging long-form musical expression, Kastbauer has guided this music project through its various formats – from producing mind-bending noise, meditative ambient flute music with Julie Kastbauer, and full-on improvisational space jazz as a trio with Minneapolis drummer JP Hauer.

In its current incarnation, the basic elements of improvisation, instrumental storytelling, and guitar-based expression have been synthesized into a pure expression of the effects-heavy solo guitars, mucking-with the fabric of space and time. These works fundamentally aim to channel the “now” of improvisation and tap into the flow of possibility from fingertip to speaker cone. After setting up a system of playback that allows for the dynamic manipulation of guitar and effects in realtime, the goal is to let it flow and bottle the lightning for repeated playback.

The visual accompaniment to the full Lost Landscapes album was collected during a daily 9-5 commute across the water from Seattle to Bellevue. Soundtracked by evolving landscapes and inexorably linked to a time and place in urban Washington, processing was applied to the visuals in an effort to mirror the unfolding soundscapes that were being refined through a process of daily iteration. What began as a physical expression manifested in the swirling effect-pedal aesthetic of solo guitar performance was melded to abstract visuals in an audio-visual ballet of tonality and psychedelic imagery.

Lost Chocolate ‘Lost Landscapes’ is now available across online music stores and streaming platforms, as well as Bandcamp

Musta Paraati


Finnish post-punk legends Musta Paraati will be releasing their first new album in 34 years this October through Cleopatra Records. The ‘Black Parade’ LP features 11 tracks in English. 10 of these are new and ‘The Leader’ is a new English rendition of their song ‘Johtaja’, which released as a single in 1983. The band is previewing this track ahead of the album release.

This release follows Cleopatra Records’ 23-track deluxe reissue of their 1983 debut album ‘Peilitalossa’ on CD & digitally, also featuring bonus material from their 1984 sophomore album ‘Käärmeet’.

Highly regarded as Finland’s premiere post-punk / goth rockers, Musta Paraati was making music before their countrymen Russian Love, Two Witches, and The 69 Eyes. With their own unique sound that is upbeat and with an old school punk attitude, their music gained them cult status in their native Finland, their albums being considered prized contributions to record collections, and also led to touring with other cult bands like Lords of the New Church and Hanoi Rocks.

It is not surprising that Jyrki ’69’ Linnankivi from The 69 Eyes joined Musta Paraati members Sakari ‘Saku’ Paasiniemi (guitar), Pasi ‘Panda’ Nikander (bass), Yrjö ‘Ykä’ Knuuttila (drums) on this album. The band’s original vocalist was Jore Vastelin, who passed away in 1993.

“We started this project with Jyrki to make couple of songs in English for our fans abroad, but it grew into a full album. We are really exited and proud about our new album ‘Black Parade’. It has pushed us to the next level and we are already working new material for the future releases,” says Yrjö.

“Since the material sounded virtually like the music Musta Paraati was making back in the 80’s, I took an imaginitive journey back in time and studied everything I found from that era, including music, movies, and politics. I also kept the somewhat naiive approach for lyrics and rock’n’roll to keep things simple,” comments Jyrki 69.

In 2015, Musta Paraati had a new lineup with vocalist Herra Ylppö, with whom they played a string of well-received shows and released the two-track EP ‘Uusi Musta/Uudet Juhlat’. Ylppö’s work with solo career and his band Maj Karma led to Musta Paraati guitarist Saku Paasiniemi sending some new tracks to Jyrki 69.

“Two hours after I sent the demos to Jyrki, I received three completed songs,” says Saku. “We didn’t really think of our collaboration marked the new coming of Musta Paraati at all – it was just another cool project!”

Following the re-release of ‘Peilitalossa’, Jyrki 69 shared the new demos with Cleopatra Records, the label signed on for a new album and Musta Paraati joined Jyrki 69 in the studio to record what would become the ‘Black Parade’ album.

The album cover for ‘Black Parade’ features photography by Stefan Bremer, the same photograper whose image features on the band’s debut album, taken at exactly the same location.

As of October 19, ‘Black Parade’ will be available from online stores and streaming platforms, such as Spotify. It can already be pre-ordered digitally via Bandcamp and on both CD and vinyl via Cleopatra Records. This Musta Paraati vinyl is a limited edition purple vinyl pressing. This album will be supported with a full-scale international tour starting in November.

Deidre & the Dark


Inhabiting a cinematic world inspired by 60s girl groups, standards, and soul, Brooklyn-based artist Deidre Muro has fleshed out a concurrently classic and modern aural and visual aesthetic as Deidre & the Dark. Her vignette-like songs use nostalgic and modern influences to paint vivid portraits of leading ladies, from her retro-girl theme song “Classic Girl” to empowering anthem “Boss Lady.”

Muro shares, “We had just finished up a mini-tour of the northeast where we’d been listening to a lot of the Delfonics, Philly soul and Motown hits. This song actually came together in one impromptu late night session at the studio, inspired by other truly joyful songs from that era of classic pop music that are a ton of fun to sing. I like to think of the backing vocal parts in this song as a gift to my longtime bandmates, Eric and Christine – it’s so much fun to sing together!”

Having started Deidre & the Dark as a creative side project during her time as founding member & front-woman of Brooklyn band Savoir Adore, Deidre delicately balances farcical-fun and drama. Her theatrical performances have been showcased at her Brooklyn-based curated event series, as well as shows with the likes of Alex Winston, X Ambassadors, Gin Wigmore, and Joywave.

Recently, Deidre & the Dark’s “Boss Lady” was used for a music video in Fusion’s Shade: Queens of NYC, as well as placed in MTV’s Undressed and BET’s Being Mary Jane.



Spanish badass rockers LIZZIES have just announced the premiere of their latest and powerful video, “No Law City”. An extraordinary rocker vision of how to kick no desirable people´s asses. Pure power, fury and hard rock straight to your ears. Watch your back cause Lizzies´s coming for you! You could be the next one! This is “No Law City”!

The band comments: “No Law City is the questionable place where we set our headquarters. There’s where we play pool, write and listen to music up to 11. But city nights can be dangerous if wandering alone… This time we will have to face some villains”

Last week the band started the pre-order of their second album ‘On Thin Ice’. Lizzies left us green with envy with their first single “Final Sentence” and now, they bring us the chance to pre-order this awesome album!

‘On Thin Ice’ will be release on October 5th via The Sign Records. Hurry up and get your copy! Don´t be the last in line!
Don’t miss the purple version that comes with a comic book



US dark melodic metal masters WITHERFALL will release the highly anticipated follow-up to 2017’s “Nocturnes and Requiems” on November 2nd, 2018. Now, the band is proud to reveal the first song from “A Prelude to Sorrow”.

“Ode to Despair was the first composition that was completed for “A Prelude to Sorrow” so it only seems fitting to start off with this track. Its origin traces back to around 2016 when we were figuring out what to do with Sagan being sick and unable to perform. Fueled by red wine and only a glimmer of the sorrow that was to come “Ode” took only one writing session to complete. The video was shot over the two month span that we were in the studio tracking “A Prelude to Sorrow” and watching the video brings you into the world we inhabited for what seems like an eternity… Special thanks to Don Adams and his masochistic tendencies and keen editor’s eye. Stay tuned for more…”

On “A Prelude to Sorrow”, main songwriters Joseph Michael (vocals, Sanctuary – live) and Jake Dreyer (Iced Earth) succeeded in perfectly combining the group’s technical proficiency with an appropriate eerie and somber atmosphere, manifesting also in Kristian Wåhlin’s majestic cover painting. For mix and mastering, WITHERFALL again worked with Chris “Zeuss” Harris (Sanctuary, Queensryche, Iced Earth) and “Ode to Despair” is just a mere glimpse at the depth and quality, the album holds within.

The “A Prelude To Sorrow” track list can be viewed below:

WITHERFALL – A Prelude To Sorrow

1. A Prelude To Sorrow (1:27)

2. We Are Nothing (11:13)

3. Moment Of Silence (6:55)

4. Communion Of The Wicked (6:40)

5. Maridian’s Visitation (3:1)

6. Shadows (7:08)

7. Ode To Despair (3:49)

8. The Call (2:11)

9. Vintage (11:06)

10. Epilogue (2:47)

The album will be released as Limited Edition Digipak, jewelcase CD (US only), gatefold 2LP plus poster and etching on Side D as well as digital album.

The following limited vinyl colours are available:

400x transparent blue vinyl – only available at

200x clear vinyl – only available at Century Media’s European store

All “A Prelude To Sorrow” pre-orders are available here:


The wait is finally over for fans of Finnish folk metal superstars KORPIKLAANI! The band has finally released their highly-anticipated 10th studio album, Kulkija (“Wanderer”) via Nuclear Blast. To mark the occasion, the group kicks off an extensive Russian tour in St. Petersburg today.

Comments founding member Jonne, “It’s been 15 years since we released our very first album and this is now our 10th album. After each and every album I always sit down and think about the music, and conclude that it is our best work yet. The great thing is that it was never promo bullsh*t, I honestly felt like that.”

“Now it’s the day of our Kulkija album release, I’m sitting on a train to Russia for the first show of our Kulkija world tour and I’m feeling good and proud of these 15 years and the best possible 10th KORPIKLAANI album!”

As if this wasn’t enough, KORPIKLAANI have launched the final part of a track-by-track series in support of their new offering in which vocalist Jonne, fiddler Tuomas, and accordionist Sami reveal more details about the new tunes. This episode features the following songs:

10. Pellervoinen
11. Riemu
12. Kuin korpi nukkuva
13. Juomamaa
14. Tuttu on tie

With 14 tracks and a total running time of over 71 minutes, Kulkija is the group’s longest album to date. Working with producer Janne Saksa for the first time, the album was recorded at Petrax Studio (Hollola, FIN) and mixed at Sound Supreme Studios (Hämeenlinna, FIN). Mastering duties were handled by renowned engineer Svante Forsbäck (RAMMSTEIN a.o.).

The cover was designed by Jan Yrlund (BATTLE BEAST, MANOWAR etc.), who has already created several artworks for previous albums and singles for the band.

Founding member Jonne commented:
“We’ve never been as satisfied with a final result as we are with Kulkija. We tried to keep it very natural. Like the wanderer, this album is a journey, one that makes you feel good.”

Sami added:
“Kulkija isn’t just a collection of songs, it’s a “real” album with a unique atmosphere guiding the listeners through a long journey. All songs were well prepared in advance and nothing needed to be arranged in the studio. Tuomas [fiddle] & I had lots of space to develop and play the folk arrangements.”


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