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SNIPPETZ: THURSDAY 5 NOVEMBER, 2026

SNIPPETZ: THURSDAY 5 November 2026
This week’s Snippetz includes: Olive Mae, Clancy Pye, JEN MIZE & THE ROUGH N’ TUMBLE, ACTA directory, Nickelback, Yours, Georgina, Bellevina, Matilda Sutherland, Gracie Abrams, DIIV, Dharma Guns, Full Flower Moon Band, Michael Ward, Mothica, Gillian Welch and David Rawlings, Harriet Hawthorne, RinRin, Hana & Jessie-Lee’s Bad Habits, Oscar LaDell, Empress, Lisa Richards, Converge, Wardruna, Bombus, Finnegan’s Hell, Sycco, As I Lay Dying, Prong, Charlotte Wessels, Knife.

OLIVE MAE CELEBRATES THE QUIRKS, CHARACTERS AND COMMUNITY OF COUNTRY LIFE WITH NEW SINGLE AND VIDEO ‘SMALL TOWN’

There’s no keeping secrets in a small town, and Western Australian country artist Olive Mae wouldn’t have it any other way. Her new single, ‘Small Town’, is a toe-tapping tribute to the quirks and comforts of rural life.

A love letter to the place she calls home, ‘Small Town’ combines a classic country groove with folk and alt-country colours. Lively fiddle licks lead the charge while Olive’s bubbly vocal ducks and weaves across the bouncy arrangement.

Hailing from Cowaramup, a little town tucked away in Western Australia’s Southwest, Olive knows a thing or two about small-town living. It’s the sort of place where everybody knows your name, your story, and probably what you had for breakfast. But when the chips are down, there’s nowhere she’d rather be.

‘I wrote Small Town at my first ever SHE Songwriting Retreat (run by Lyn Bowtell) with multiple Golden Guitar nominated lyricist, Kath Stewart. It is a song about the familiarity of living life in a Small Town where everyone knows your name and knows your business but will also help you anytime you need them to. I think this song will resonate with anyone who lives in a close-knit community and it is one of my personal favourites. I’m very excited to have it out in the world.’

Behind the desk is multi-award-winning producer Matt Fell (Sara Storer, Shane Nicholson), who gives ‘Small Town’ plenty of room to kick up its heels. The pair’s creative partnership continues to bear fruit, with the track marking their third single together.

‘This is the third single I have now released from the time I spent in the studio with Matt. It’s my personal favourite and I loved hearing this track come to life while I was in the studio. The fiddle part which was done by Luke Moller is especially excellent’

The new release follows Olive’s previous single, ‘Country Songs’, which enjoyed success across Australian country radio. The track peaked at #38 on the CountryTown Hot 50, reached #3 on the Country Songs Top 40 Australian Airplay Chart during an eight-week run, and spent five weeks on the AMRAP National Airplay Chart, peaking at #10. Her music has also featured among ABC Country’s Most Played of the Week.

WATCH VIDEO

LISTEN

Accompanying ‘Small Town’ is a music video produced by Jay Seeney of Blacklist Productions, filmed in Olive’s hometown of Cowaramup. Shot across the town’s main street, local bowling club and a nearby gravel road, the video offers a glimpse into the community and surroundings that inspired the song.

‘It was very important to me to shoot this video right here in my own ‘Small Town’ so that’s what we did! It is filmed in a number of locations very close to where I live here in Cowaramup- the main street, the local bowling club and a gravel road just out of town. I love that I can share the magic of where I live through this video.’

It’s been a busy couple of years for Olive, whose music has taken her from the stages of Tamworth to the songwriting circles of Gympie Music Muster, with a few notable milestones along the way. Her debut EP earned nominations at the WA Country Music Awards and WA Music Song of the Year, while her live resume includes the Boyup Brook Country Music Festival and three consecutive Tamworth Country Music Festivals.

A graduate of the CMAA Academy of Country Music, Olive was also selected for the CMAA Academy Campfire Songwriting Program at the 2026 Gympie Music Muster and named a finalist in the 2026 TMFM Discovered Competition. She’s previously shared the stage with acclaimed songsmiths Sara Storer and Gretta Ziller, with Storer praising her ‘infectious melodies, brilliantly original lyrics with a sweet Aussie lilt.’

With an EP on the horizon for early 2027, Olive Mae has plenty more stories to tell. Bursting out of the speakers with infectious energy, ‘Small Town’ is a spirited showcase of the singer-songwriter’s heartfelt storytelling and distinctly Australian country sound.

SHOW DATES:
7th November – NewFarm NewCountry Festival – Denmark, WA
8th November – Pemberton Mill Hall – Pemberton, WA (w/ Ange Boxhall)
13th November – Secret Garden House Concert – Margaret River, WA
16th January – Matrescence in the Round – Tamworth Community Events Centre – Tamworth, NSW
21st January – Bluebird Room (headline show) – Tamworth Community Events Centre – Tamworth, NSW

https://www.facebook.com/olivemaewilliams

CLANCY PYE TAKES THE SCENIC ROUTE TO LOVE WITH NEW SINGLE ‘SUNDAY DRIVE’

Sometimes the best thing about the journey isn’t where you’re going, but who’s sitting beside you. For Orange based country singer-songwriter Clancy Pye, that sentiment is at the heart of her new single, ‘Sunday Drive’, out now.

A tender tribute to love and the beauty of life’s little differences, ‘Sunday Drive’ finds Clancy pairing contemporary country songwriting with a delightfully traditional sound. Rolling banjo, glassy pedal steel and twangy electric guitars provide a fitting backdrop for her honeyed vocal, with an earworm chorus that feels as effortless as a lazy afternoon behind the wheel.

At its heart, ‘Sunday Drive’ is a song about two people who don’t necessarily see the world the same way but wouldn’t want to navigate it with anybody else. One’s a Friday night, the other’s a Sunday afternoon. One’s the neon sign, the other’s the front porch light. Different in all the right ways, and better together because of it.

“Lyrically, I wanted to explore that idea of ‘yin and yang’ in a relationship – how two people can be completely different yet complement each other in all the right ways as they navigate life’s twists, turns and uncertainties. They say the best part of life’s journey is who you get to share it with, and it was fun to weave that theme throughout the song.”

Written by Clancy, ‘Sunday Drive’ was the final song recorded for her forthcoming debut album, Feels Like Home, and quickly became a favourite among the musicians who brought it to life.

“I was lucky enough to record it with some of my favourite musicians – Pete Drummond, Michele Rose, Sean Rudd and my brother Mickey Pye. They each brought their own feel and ideas to the track.”

https://checked.lnk.to/SundayDrive

A veritable A-list of session players, they brought the track to life at The Vault Studios with Sean Rudd (Lyn Bowtell, Luke O’Shea, Mickey Pye) sitting in the producer’s chair. Together they built an arrangement that balances old-school country charm with a contemporary edge – letting the song’s sentiment shine without losing its playful spirit.

“Musically, I wanted this song to feel like a Sunday drive – relaxed and easy-going, but with a few changes of gear along the way that make you want to turn the stereo up and sing along.”

The new single follows the success of Clancy’s previous single, ‘My Hometown’, which climbed to #1 on the Country Songs Top 40 Australian Airplay Chart, reached #17 on the AMRAP Regional Airplay Chart and earned a spot on Apple Music’s New In Country editorial playlist. With more than 500,000 global streams to her name, Clancy is finding an increasingly receptive audience for her distinctly Australian brand of country music.

Having spent much of the past two years touring alongside Tania Kernaghan and Jason Owen, Clancy is no stranger to taking her music beyond the Central West. In 2025, she also made her solo debut at the Gympie Music Muster, another milestone in a career that continues to gather momentum.

Now, with a new album on the horizon, Clancy is looking forward to bringing her own songs to audiences across regional Australia, with plans for a tour to accompany the record.

“As a songwriter, there is no better feeling than performing your own songs in front of an audience and being able to build those ‘in-person’ connections, so I’m really looking forward to playing the songs off this album live and experiencing those connections first-hand.”

Warm, unhurried and full of heart, ‘Sunday Drive’ is a reminder that life’s most meaningful moments aren’t always the ones we plan. Sometimes all you need is an open road, a familiar song and the right person in the passenger seat.

SHOW DATES:
Sunday 1st November – The Millthorpe Hotel – Millthorpe, NSW
Friday 6th November – The Metropolitan Hotel – Orange, NSW
Saturday 14th November – Neville Show and Bullride – Neville, NSW
Friday 20th November – The Millthorpe Hotel – Millthorpe, NSW
Sunday 22nd November – Heiffer Station Wines – Orange, NSW
Friday 27th November – Mortimer’s Wines – Orange, NSW
Saturday 28th November – The Rockley Pub – Rockley, NSW
Friday 4th December – The Wentworth Orange – Orange, NSW
Saturday 5th December – Tooraweenah Hotel – Tooraweenah, NSW
Friday 11th December – Portland RSL – Portland, NSW
Sunday 13th December – Millthorpe Hotel – Millthorpe, NSW
Friday 18th December – The 1880 Hotel – Bathurst, NSW
Saturday 23rd January – Moonshiners Hony Tonk Bar – Tamworth, NSW

www.clancypye.com.au

MONEYMAKER, THE NEW SINGLE FROM JEN MIZE & THE ROUGH N’ TUMBLE IS OUT NOW

Oozing warmth, love and good times the latest single from the band’s new album TILT kicks of with one of Jen Mize’s iconic horn riffs that locks right into the most solid of grooves, thanks to the high quality RN’T rhythm section of Mitch Power and Steve Fearnley. A warm summer night laid back kind of tune, Moneymaker is a put-the-top-down drive on the coast or a moonlit BBQ gathering with everyone you love. “In a world as stressful as ours, sometimes we’ve got to turn off the news, put our worries down and let go on the weekend – take ourselves a little less serious and just shake our bums” laughs Mize.

Written and performed by Mize and Jeremy Edwards “Moneymaker came out of cheering up a friend, taking stock and finding solace in what we have. We have our family, friends and the music – so there’s a lot to be grateful for, and a helluva-lot to celebrate” says Mize.

And with all that’s going on right now all around the world – Moneymaker is a reminder that there is still goodness, beauty, peace and great people to celebrate and treasure.

Turn it up, enjoy and shake your Moneymaker.

GET SOCIAL WITH JEN MIZE & THE ROUGH N’ TUMBLE WEB INSTAGRAM FACEBOOK YOUTUBE SOUNDCLOUD

ACTA FLIPS SCRIPT FOR TALENT SOURCING WITH AUSTRALIA’S 1ST COMPLETE DIRECTORY

acta has raised the curtain on an enhanced offering which will boost talent bookings, save all types of professional talent bookers hundreds of hours and unnecessary margins, and ensures that all talent receive the fee which they negotiate – without losing any money to middlemen.

Now working on a subscription only model, acta’s cutting-edge AI search means that bookers and agencies can cut to the chase when searching for talent based on the brief or budget at hand, while simultaneously giving new and upcoming talent an opportunity to shine. Live integration with Spotify, Bandsintown and Meta lets bookers hear an act instantly, spot tour dates near them and see their audience at a glance.

acta Founder and CEO Harris Meitanis, a talent solicitor, event producer, agent and manager who currently also guides the careers of global Australian comedy powerhouse Sooshi Mango, said the response from talent and their representatives has been overwhelming.

“Talent and managers have embraced the new acta because it brings them more opportunities with almost no effort, and it costs them nothing,” Harris said.

acta has now given ‘pay-per-use’ the flick and moved negotiations off platform. Bookers and talent still deal directly, but now any way they wish. Their deals. Their way. Every listing still comes from verified talent and representatives, making it easier for bookers, PR and advertising agencies to invest their time with confidence.

“Connecting vetted professionals with talent and their verified representatives easily and cost-effectively is good for the industry as a whole. It increases bookings and manages budget expectations across the board. Talent has previously carried the cost of being found, even when the service was really for the booker and it’s time to flip that on its head.” Harris Meitanis, acta Founder and CEO

“Unlike other directories, bookers can’t just sign up. They apply, and everyone is vetted, so representatives know each enquiry which comes through is genuine. Briefs can be kept simple or ‘supercharged’ with full detail on scope and requirements, so talent get what they need up front, and nothing is lost in translation.”

“For advertising and marketing agencies, we save countless brainstorming hours by instantly offering up the entire industry at a glance but also providing a list of ‘like’ options, providing them a targeted shortlist at the press of a button.

“Alternatively, bookers and agencies can also post an opportunity – which the system then sends to matching talent. This allows vetted talent and their representatives to approach the booker. The model replaces the old booker cycle of calling around to find who is available, in budget and interested.”

Backed by the likes of Paul Dainty AM (President, TEG Dainty), Shaun Levin (Chairman, Profile Talent Management), Seb and Adrian Bohm (Bohm Presents), Tina Arena, Michael Parisi, Jess Origliasso (The Veronicas) and Alex Bond – as well as countless other industry supporters who invested in its 2025 industry-led equity and crowdfunding campaign – acta is an authentic industry alliance.

“We’ve built Australia’s first complete talent directory, accessible only by the professionals it was built for. It is funded by the industry and supported by the talent they represent – we’ve collated publicly available information, used authorised bios and images, and brought more than 9,000 talent together in the one place, so that professional bookers now have the entire industry in their back pocket.” Harris said.

Since its Beta launch, acta has received support from more than 95% of Australia’s talent agencies and management companies and has facilitated more than $15 million in direct talent payments. The new directory-first model now features 100% of Australia’s represented talent as well as a top tier of independent talent.

“There has never been a single, vetted directory of Australian talent. For any serious booker, this isn’t a nice-to-have, it is a core kit. It without question, saves time, it saves money, ethically supports talent and it widens who can be reached. And it does all of that without costing the talent a thing.” Harris Meitanis, acta founder and CEO

acta is now available to industry (event organisers, marketers, talent bookers, communications and advertising professionals) via subscription. Pricing starts at $99 a month and goes up to $499 a month, plus GST. Enterprise subscriptions are also

available on application, and a 10 per cent discount applies to annual billing. For further information

visit http://www.actadirect.com/.

NICKELBACK ANNOUNCES SECOND DATE FOR HUNTER VALLEY’S ROCHE ESTATE ON OCTOBER 17, 2027

Canadian and RIAA Diamond-certified, and GRAMMY® Award-nominated rock legends Nickelback announce the final Australian date on their 2027 Everything Under The Sun Tour, a massive global arena run celebrating the band’s highly anticipated eleventh studio album, Everything Under The Sun, out today via Virgin Music Group.

This new show is confirmed for Roche Estate in Hunter Valley on Sunday 17 October 2027.

General tickets go on sale on Wednesday, 4 November at 11am. Head to livenation.com.au and facetofacetouring.com.au.

All times are local.

Following the momentum of 2022’s Get Rollin’ and its record-setting world tour, Nickelback will bring their signature arena-sized live show to fans across Australia, with Don Broco joining as direct support and special guests. The English four-piece, known for a boundary-pushing sound that blends elements of metal, post-hardcore and electronica, has built a reputation for an electrifying live show, selling out major UK venues including Wembley Arena and Alexandra Palace and performing at festivals including Download and Reading & Leeds.

Today, Nickelback unveils the emotional and sonic breadth of new album Everything Under The Sun. The band’s explosive single “Rattle The Cage” (feat. John 5) reached No. 1 at Active Rock radio in the U.S., marking another chart-topping moment for a band whose catalogue has defined rock radio for more than two decades. The track introduced Everything Under The Sun with blistering guitars, pounding riffs and arena-sized energy, while subsequent releases “Leave Me Behind” and “Make Me Love You” have revealed a more vulnerable and emotionally expansive side of the record.

With nearly 65 million albums sold worldwide, billions of streams across digital platforms and more than 50 million monthly listeners, Nickelback remain one of the most streamed and commercially successful rock bands in the world. Their music continues to connect across generations, while their live shows have cemented their reputation as an arena force with a catalog built for massive rooms and massive moments.

NICKELBACK 2027 TOUR DATES: AUSTRALIA
Presented by Live Nation & Triple M

Sat, Oct 2 – Perth, Australia – RAC Arena

Tue, Oct 5 – Adelaide, Australia – Entertainment Centre

Thu, Oct 7 – Melbourne, Australia – Rod Laver Arena

Sat, Oct 9 – Geelong, Australia – Mount Duneed Estate*

Tue, Oct 12 – Brisbane, Australia – Entertainment Centre

Thu, Oct 14 – Sydney, Australia – Qudos Bank Arena

Sat, Oct 16 – Pokolbin, Australia – Roche Estate*

Sun, Oct 17 – Pokolbin, Australia – Roche Estate* NEW DATE

PRESALE INFORMATION FOR NEW ROCHE ESTATE SHOW:

Artist Presale: Monday 2 November 10AM – Tuesday 3 November, 10PM

Live Nation & Face To Face Touring Presale: Tuesday 3 November, 10AM – Tuesday 3 November, 10PM

GENERAL TICKETS ON SALE: Wednesday, 4 November 11AM

ALL TIMES ARE LOCAL.

For tickets and further information please see livenation.com.au and facetofacetouring.com.au

*Promoted by Face To Face Touring

MORE ABOUT NICKELBACK
Nickelback are one of the most enduring and recognizable rock bands of the modern era. Formed in Hanna, Alberta, the band – Chad Kroeger, Ryan Peake, Mike Kroeger and Daniel Adair – have sold nearly 65 million albums worldwide, amassed billions of streams and built a catalog of defining rock anthems including “How You Remind Me,” “Photograph,” “Someday,” “Far Away,” “Rockstar,” “Animals,” “Gotta Be Somebody,” “If Today Was Your Last Day” and “Burn It to the Ground.” Canadian and RIAA Diamond-certified, Canadian Music Hall of Fame inductees and GRAMMY® Award-nominated, Nickelback have spent more than three decades connecting with fans around the world through their music and renowned live performances. Their Netflix documentary, Hate to Love: Nickelback, became a global sensation, while their Get Rollin’ World Tour became the fastest-selling and highest-attended tour of their career. Nickelback’s 11th studio album, Everything Under The Sun, arrives October 30 via Virgin Music Group, continuing the band’s evolution with a collection that spans massive rock anthems, intimate moments and deeply personal songwriting.

For more information on Nickelback please visit:

YOURS, GEORGINA RETURNS WITH NEW SINGLE ‘HOLIDAY’ FROM FORTHCOMING STUDIO ALBUM DESTINATION FEVER

YOURS, GEORGINA – the spirited and stunning indie-folk project of Melbourne songwriter Georgina Currie – continues to evolve, here with the release of brand new music in the single ‘HOLIDAY’. Taken from the artist’s much-anticipated debut album DESTINATION FEVER (released Friday 27 November), the latest from Yours, Georgina is another prime example of her natural and intimate brand of storytelling. As a lyricist, she has a savvy ability to invite a listener into a space that feels both evocative and exciting at the same time. With ‘Holiday’, the listener is given a beautiful insight into the broader Destination Fever portrait, while also being given the opportunity to get to know Yours, Georgina that much better.

‘Holiday’ was recorded on Wurundjeri Woi Wurrung Country, at Rolling Stock Studios in Melbourne. Yours, Georgina worked with engineer Andrew Robinson (The Teskey Brothers, Midnight Oil), in bringing her final vision to fruition. As she remembers, “This song was one I picked up and put down, again and again, over many months. It gradually evolved into a grander narrative that embodied the insecurity and anxiety I was feeling at the time. I personally love songs that take creative licence with details, so long as the writer remains faithful to the human experience and emotions at the heart of the work. I think this is what I was striving to achieve with ‘Holiday’.”
Of the song itself, Yours, Georgina has been able to create her soundscape around themes of love, relationships and the heady nature of them – territory that, no doubt, many will be able to relate to.

“I wrote this song as an allegory for the havoc we can wreak in the name of love, and for the quiet voice wondering, deep in the recesses of our mind, if a relationship thrilling and addictive and all-consuming is meant to last.” YOURS, GEORGINA

Since making her debut in 2021, Yours, Georgina has embraced a journey of creative growth; her music has maintained its charisma and heart-led energy, while becoming bolstered as life’s experiences and influences have led her in bold and new directions as an artist. With the release of Destination Fever, she is able to explore this new chapter with added perspective and flair.

To date, her music has received support from across the ABC – including triple j, Triple J Unearthed and ABC Country – as well as community and commercial radio stations Australia-wide. With over 150,000 streams across DSP platforms, and notable shows as a headliner and support artist for the likes of Benjamin Stewart (Slowly Slowly) and The Maes to her name, Yours, Georgina is more than ready for the fresh wave of momentum this new musical arc is ready to bring.

‘HOLIDAY’ is released Friday 30 October,‘DESTINATION FEVER’ is released Friday 27 November.

BELLEVINA RELEASES NEW SINGLE

“You, Yourself and I”
Out Now — All Major Streaming Platforms

Bellevina releases her new single “You, Yourself and I,” available now on all major streaming platforms. The track follows her debut single “Saturday” and picks up exactly where it left off — synth-pop with real production weight behind it, and a smoky, airy vocal that leaves the listener craving more.

The song is built to breathe. The verses pull back — just synth, rhythm, space — and let the lyric land before the chorus opens up into something bigger. It’s the kind of track that sounds polished on first listen and reveals more on the third. Fans of Lorde, Phantogram, and Men I Trust will recognize the sensibility, but Bellevina’s voice is distinctly her own.

Lyrically, the song goes somewhere unexpected. It opens like a relationship track — “Stop looking for me / Like I’m the only thing you need” — but the more you sit with it, the more it becomes something else entirely. It’s really about looking for things outside yourself that you can only find within. The payoff in the bridge reframes everything that came before it. It’s the kind of writing that holds up.

“At first listen, the song could seem like it’s about navigating difficulties within a relationship. But if you think about it more deeply, it’s about the very human fallacy of searching outside of yourself for things you can only find within. I wanted it to grow with the listener.” — Bellevina

Bellevina’s music is built around strong production and lyrics that reward close listening. “You, Yourself and I” is her second single, following her debut “Saturday.”

“You, Yourself and I” is available now on Spotify, Apple Music, Tidal, Amazon Music, and all major streaming platforms.

Listen on Spotify: https://open.spotify.com/track/04ekcp6ia4mxJxMmVtMzbl

MATILDA SUTHERLAND shares Cowgirl Manifesto EP + music video for focus track “Wild Mustang” + Naarm/Melbourne album launch at Abbotsford Convent on Nov 7

WATCH “WILD MUSTANG”

STREAM / SHARE COWGIRL MANIFESTO EP

Naarm/Melbourne alt-country singer-songwriter Matilda Sutherland (she/her) shares her new EP Cowgirl Manifesto, out today (Friday, October 30) independently across streaming services and on limited-edition 12″ vinyl. To celebrate the release, Matilda and her band will perform live at Abbotsford Convent on Saturday, November 7, 2026 with support from CCTV and Andrew Wilson. Tickets HERE.

Accompanying Matilda’s new EP is a music video for focus track “Wild Mustang”, directed and cut by Josephine Sutherland, with cinematography by Veronica Charmont. The clip was shot over a couple of weekends in Matilda’s lounge room with her sister and drummer. “We wanted to capture an intimate moment of girlhood… singing and dancing in front of your mirror,” Matilda says. “Looking in the mirror, the girl can imagine another version of herself.”

The video opens on Matilda draped across a white couch, entranced by the world inside her head. She wanders to the window, then to a floor-length mirror, where gentle movements become sweeping gestures and build into a full twirl as the bridge hits. Here, the night scene is introduced: a silhouette lit by bright stage lights, the lounge room covered in haze, and Matilda now facing the viewer directly as her daytime doppelgänger loses herself in ecstasy. Her expression now comes at night, where people are nameless and faceless, yet the curtains of her lounge room remain visible through the smoke, a reminder that we are still in her world. As the last line, “why does it feel so wrong,” rings out, she stands puffed in the middle of the room.

The movement is mostly improvised, with performer Alexander Powers helping to shape some of its repeated motifs. The costuming references the outfits Matilda wore to jazz ballet classes as a kid, its bright colours against the stark white room drawing the eye straight to her. The smoke in the night shots is an ode to the smoke of the club.

“I wanted [the clip] to portray how dancing on your own can feel – like having your own stage in your mind to play in. I wanted to recreate the feeling of restlessness and melancholy that comes from isolation, and the artistic expression that can produce,” Josephine shares.

Cowgirl Manifesto began as a poem in 2020 — one that became a net art work, then an ethos, and now, finally, a record. It is a fully realised world that Sutherland has been writing toward for years; in completing the EP, its autobiographical nature has come sharply into focus. There is a general sense of grappling with the inner turmoil of becoming yourself, of becoming a woman, of learning how to grieve but also to love. What was once a cyber-feminist conceit has become something more sincere — purely feminist, Sutherland says — and all the more powerful for it.

“The Cowgirl Manifesto is an epic. Girl grows up in the country, girl gets bored, girl leaves what she knows on a journey of self-discovery, girl sees things she can’t unsee, girl wants to come back but doesn’t quite know how, girl realises ‘back’ was where she was the whole time,” Matilda says.

Written across Melbourne and Switzerland and recorded live in Thornbury — with bass, guitar, vocals and synth overdubbed later — Cowgirl Manifesto carries on the gritty storytelling tradition of Patti Smith with the tenderness and stylings of Dolly Parton, PJ Harvey and Sharon Van Etten. Across five tracks, Sutherland is backed by a five-piece band — Michael Panton on lead guitar and pedal steel, Madeline Lo-Booth on bass, Andrew McEwan on drums and Josephine Sutherland on piano — moving between steel-soaked folk and distorted rock with ease, her lyricism and voice the constant.

The overarching story of the EP is one of learning to trust your gut — a lesson Sutherland had to reckon with over and over again during the record’s production. The vocals were recorded twice, the tracks mixed twice and mastered twice. “Why make something that I am not completely happy with?” she says. The reminder she kept returning to: what would I want to listen to?

Across the EP’s five tracks, the Cowgirl’s arc unfolds: her origins, her temptations, her wandering, and her eventual return to herself. EP opener, “Joanne”, is a Western epic. Beginning with a drawn-out, swelling intro of pedal steel and textural guitar, it builds into a driving narrative not unlike a spaghetti western film score — the tragic story of a girl tripped up by the wheel in her tracks. The song was written in Naarm, refined in Switzerland, and played live by the Mississippi in New Orleans to a busker named John. “The rawness of that steel bodied guitar and the heavy Southern air are carried through the story of Joanne. A timeless epic,” Matilda shares. “Broke Dreams” channels the energetic musings of a young Bob Dylan through classic country rock — a girl from a small town swept up in the glamour and bright lights of the city, buying a car and not looking back. “Rodeo Queen” is the Cowgirl’s Cowboy counterpart, traipsing between beds and dim-lit hotel rooms, Sutherland’s voice layered into euphoric harmonies advertising the (potentially false) promise of paradise. Previously released single, “Silver Thorn” is lush and awash — synths, guitar and rich vocals playing across a driving rhythm, an acknowledgement that there are some who are better left alone. And closing track “Wild Mustang”, the EP’s denouement, builds from intimate guitar and voice into a rolling thunder of toms. “She runs, she runs, but nothing changes,” Sutherland sings. “A wild mustang, fresh off the range.”

“This feels special because I started this project when I wasn’t sure what the future would hold,” says Sutherland. “I have explored a lot with the metaphor of the cowgirl, and now she is me.”

Matilda Sutherland is a city girl with a cowgirl’s sensibility — if Patti Smith and Dolly Parton had a love child, you might find her somewhere in the middle. Hailing from coastal New South Wales, she grew up surrounded by surf rock, folk, soul and 80s ballads before relocating to Naarm in 2014. She began her musical career as a DJ under the moniker MTLDA, becoming a respected fixture of Melbourne’s underground techno scene. When the pandemic ground nightlife to a halt, a beat-up old Yamaha acoustic guitar became the catalyst for a new creative chapter. Since then, Matilda has steadily built a reputation as one of Melbourne’s most compelling emerging singer-songwriters and live acts. Her 2021 debut single “Lay Down” launched to a sold-out audience at Colour Club, Her country-punk Holy Water EP received high rotation on RTR FM and airplay on RRR and PBS FM, with Cowgirl Manifesto singles receiving airplay on ABC Country, RRR, PBS and fbi.radio, among others. Keep up to date with Matilda Sutherland by following her on Instagram and Bandcamp.

GRACIE ABRAMS ANNOUNCES DAUGHTER FROM HELL (DELUXE) ALBUM OUT NOVEMBER 20

PREORDER HERE NEW SINGLE “HERE YOU COME, THERE YOU GO” OUT NOW

LISTEN HERE

GRAMMY® nominated singer songwriter Gracie Abrams announces the deluxe version of her third studio album, Daughter from Hell, out November 20 – pre-order HERE. Daughter from Hell (Deluxe) will have 5 additional songs including “Out of Nowhere” which became a fan favorite after Gracie debuted the song live at her Glastonbury performance in 2025 and “Crazy Girl,” featured on the vinyl exclusive and will now be available digitally for the first time.

In tandem with the announcement, Gracie released her new single “Here You Come, There You Go” off the upcoming deluxe album – listen HERE. The single is featured on the cover of Apple Music’s New Music Daily with Zane Lowe and Gracie spoke with Zane about the track and deluxe album this morning on The Zane Lowe Show. “Hit the Wall,” “Look at My Life,” and her newest single “Here You Come, There You Go” will be available on iTunes as instant grat tracks for anyone who pre-orders the deluxe album on iTunes. See below for the full deluxe track list.

Originally released in July, Daughter from Hell became Gracie’s first ever No. 1 debut on the Billboard 200 and internationally, it claimed the top spot in the UK, Australia, Canada, France, Germany, Netherlands, Ireland, and New Zealand. Upon release, Rolling Stone gave the album a glowing 4.5 out 5 stars review and Associated Press gave it 4 stars.

Written and produced by Gracie alongside longtime collaborator Aaron Dessner, Daughter from Hell captures the uncertainty, growth, and emotional turbulence of life in one’s twenties. Daughter from Hell comes two years after the release of Gracie’s sophomore album, The Secret of Us.

Next up, she will embark on The Look at My Life Tour with the North American dates presented by Capital One. Promoted by Live Nation, the 64 date tour kicks off in Denver, CO on December 2 and will hit major cities across North America and then bring the tour to Europe in April starting in Paris, FR.

ABOUT GRACIE ABRAMS
Since making her debut in 2019, Gracie Abrams has emerged as one of the most compelling singer-songwriters of her generation. Penning her first song at age eight, she went on to amass a devoted following with EPs minor (2020) and This Is What It Feels Like (2021), before embarking on a sold-out North American tour in 2022. Her debut album, Good Riddance (2023), sparked another headline tour that sold out in under one hour and earned Abrams the highly-coveted nomination for Best New Artist at the 66th Annual GRAMMY® Awards. Abrams then toured with Taylor Swift as the opening act on select dates of the blockbuster Eras Tour.

In 2024, Abrams released her sophomore album The Secret of Us, which became her first #1 album in the UK, Australia, and the Netherlands, and debuted at #2 on the Billboard 200. Its breakout single “Close To You” marked her first solo Billboard Hot 100 debut, while “us.” featuring Taylor Swift earned Abrams her second GRAMMY® nod, this time for Best Pop Duo/Group Performance. Its deluxe track “That’s So True” reached #1 on the US Spotify chart, entered Spotify’s Billions Club with over 1.5 billion streams, and became her first Billboard Hot 100 Top 10 hit. Abrams spent 2024 on The Secret of Us world tour, and 2025 on The Secret of Us Deluxe Tour, her first solo North American arena run.

Beyond music, Abrams has cemented her presence in the fashion world as global house ambassador for Chanel, fronting the brand’s Spring-Summer 2025 Pre-Collection campaign before being unveiled as a muse for the Coco Crush collection. Most recently, she became the face of Coco Mademoiselle Crush Absolu. As her artistry continues to expand, Abrams is set to make her acting debut in the upcoming A24 film Please. She also released her highly anticipated third studio album, Daughter from Hell, on July 17th.

DIIV RELEASE FIFTH STUDIO ALBUM, ZIRP!

DIIV release fifth studio album, ZIRP! – out now via Fantasy Recordings. Produced by A.G. Cook, ZIRP! includes the previously shared singles ‘Dare Me’, ‘Trillions‘, ‘Kid‘ and ‘The Fountain‘.

This is The New Alternative: a new genre for the 21st century. More specifically: a new genre for music’s optimised VC-funded super deluxe remixed AI-enhanced algorithmically perfected wild west 2020s, where a million streams is great, a billion even better, and a trillion well within reach.

On their fifth album ZIRP!, DIIV emphatically and ecstatically embrace the underground pedigree and the pop instinct that have anchored the band like magnetic poles for the better part of their career, smashing them together in pursuit of a sound that pre-empts any notion that Zachary Cole Smith, Andrew Bailey, Colin Caulfield and Ben Newman have ever been playing between worlds. Put more simply, on ZIRP! DIIV answer the simple questions that so many bands can’t: What would it mean to grow up? And glow up, too?

Produced by British pop wizard A. G. Cook (Caroline Polachek, Charli XCX, Troy Sivan) – a chief architect of our current post-category future – ZIRP!, named for the zero interest rate policies that drew us into a world of failed startups and turned us all into atomised “users,” expands on the themes of Frog In Boiling Water with a newfound lightness.

Here, Palantir, societal breakdown and streaming’s endless hamster wheel are all fodder for rich, sparkling pop songs: Album opener and lead single ‘The Fountain’ pairs the sprawl and squall of DIIV records past with a jolting rhythmic guitar section that has arena-filling potential. Throughout, the band is zeroing in on its punchiest, most memorable melodies to date, each new internal hook and tossed-off earworm indicative of a band more than ready to make good on its ability to play in the mainstream.

DIIV were recently announced for Laneway Festival 2027, which follows their June 2025 Australian tour that included headline performances at Melbourne’s Northcote Theatre, Brisbane’s Princess Theatre, and Perth’s The Naval Store, alongside appearances at RISING (Melbourne Town Hall), Hobart’s Dark Mofo and VIVID Sydney (Carriageworks).

This week, DIIV announced their 47-date headline world tour that will see them bring their energised live show back to Australia, as well as Japan, North America, the UK and across Europe. This November, DIIV will perform at Pitchfork Music Festival in both Paris and London along with Sonic City Festival in Beldian. More news to come.

For as long as they’ve been making music, DIIV have been victims of a world without the vocabulary to describe their willingness to braid the harshness of genres like shoegaze (on 2024’s Frog In Boiling Water) and grunge (2019’s Deceiver) with mellifluous and memorable pop melody. Over the years, the world has caught up with them, with artists like Slayyyter, Eartheater and Turnstile forcing old-guard gatekeepers to find new ways to describe this gleeful disregard for old-fashioned scene designations and genre tags. With ZIRP! – and their embrace of The New Alternative – DIIV lock in on a name for the universe they’ve been chasing for all these years, and a sound that represents the apotheosis of that universe.

When DIIV initially approached A.G. Cook, the producer says, “it was in the spirit of destroying & rebuilding their demos, Screamadelica-style, into a finished product, but that hybrid, half-remix approach felt completely wrong to me.” Instead, he became a professor of DIIV studies, attending the band’s shows and forming a unified theory of where the band needed to go next. “I became a bit obsessed with their live sound, and insisted on recording live drums before most of the songs were even finished. We spent a lot of time recording intricate guitar parts with specific guitar pedals, and as little time as possible doing anything on a computer, at least by my standards,” he says. “After a few rounds of that, ZIRP! emerged as a concept, and a sort of utopian, dystopian mantra. For me it became a vehicle to push the band into new territory.”

Stream/order DIIV’s new album, ZIRP!, and stay tuned for more news from the band coming soon.

DHARMA GUNS RELEASE COVER OF ‘I’M AFRAID OF AMERICANS’ AND ANNOUNCE NEW EP SUBCULTURE WAR

SINGLE OUT NOW

EP OUT NOVEMBER 20

Stream ‘I’m Afraid of Americans’ HERE

Dharma Guns have officially released their take on David Bowie’s provocative classic ‘I’m Afraid of Americans,’ featuring Rami Helin, out now via Golden Robot Records. Alongside the single’s release, the band announce their upcoming EP, Subculture War, arriving November 20 and available to pre-save now.

Never a band to shy away from a challenge, Dharma Guns bring their distinctive edge to Bowie’s iconic track, breathing new life into a song whose themes remain strikingly relevant. Exploring the complicated feelings America continues to evoke across culture and world politics, the release serves as a timely soundtrack for uncertain times and a reminder that true classics never lose their relevance.

“We recorded a bunch of covers just for fun last spring,” says Pete Leppänen, lead singer and guitarist for Dharma Guns. “They were all songs from the ’90s alternative era, and some of them relied heavily on synthesizers and loops. We thought it would be fun to see what they would sound like stripped down to just drums, bass and two guitars. ‘I’m Afraid of Americans’ came to mind, and since the song feels more relevant than ever today, we decided to give it a go.”

“My old friend and bandmate, Rami Helin, has been compared to Bowie all his life, so we figured we couldn’t possibly record a Bowie song without getting him involved. I think our version sounds very much like us, both musically and lyrically, without hiding our debt to the original.’

“We’ve shot music videos for all our singles, and “I’m Afraid of Americans” depicts present-day America in all its glory. It’s like watching a horror movie.”

Watch the music video for ‘I’m Afraid of Americans’ HERE

Continuing the band’s commentary on the state of the world, Subculture War follows their fire-and-brimstone second album with the same uncompromising attitude, shifting the focus from global battles to the conflicts closer to home. The EP explores the underground cultural scene, where subcultures clash not only with the outside world but also with one another.

Driven by memorable guitar riffs, infectious singalong choruses and an unapologetically edgy attitude, Subculture War delivers a fresh take on guitar-oriented rock. It’s music built to get stuck in your head, demand repeat listens and leave its mark long after the final note.

With ‘I’m Afraid of Americans’ out now and Subculture War arriving November 20, Dharma Guns continue to challenge expectations and deliver music that reflects the tensions of the world around them.

Pre-save Subculture War HERE

ABOUT DHARMA GUNS: Dharma Guns play rock ’n’ roll infused with protopunk and Scandi action influences. Their sing-along choruses, fiery guitar licks, and gritty groove capture what rock ’n’ roll is all about. Their lyrics paint vivid images of a world filled with madness, nightmares, and shattered dreams, like slogans spray-painted across concrete walls.

Bursting onto the Finnish rock scene, Dharma Guns released their debut album, Ex-Generation Superstars, in November 2024. Known for their high-energy performances both on and off stage, the band’s story continued in April 2026, when their second album, Nightmares and Broken Dreams, dropped, preceded by four singles accompanied by music videos. The album release tour kicked off in their hometown of Helsinki and reached as far as the British Isles during a run from Scotland to London.

It all started when guitarist Pete (Huuto!, ex-Dead Fun, ex-Turun Romantiikka) realized he’d written a dozen new songs without the right kind of singer to perform them, he took a leap into the unknown and decided to sing them himself. All he needed was a bunch of rockers to back him up in a band that took its name from Jack Kerouac’s legendary novel Dharma Bums. Musically, the references spanned the swagger of Hanoi Rocks and Guns N’ Roses and the raw energy of MC5 and The Hellacopters.

Helsinki-based rockers Edu (ex-Bad Valentines, ex-Plastic Tears), Jussi (ex-Vanity Ink), and Olli (Jo Below, Mönni) listened to the demos and immediately jumped on board. Since everything needs to be labeled these days, they decided to call themselves dandy punks.

The band is moving forward at full speed! The first rehearsal took place in November 2023, and by June 2024 their debut album was recorded. By the end of 2026, they have released two albums, one EP, and ten singles accompanied by music videos, and played dozens of gigs in five different countries.

In August 2026, the band’s story moved on to the next chapter when they signed a recording deal with the renowned Australian label Golden Robot Records.

CONNECT WITH DHARMA GUNS https://goldenrobotrecords.com/pages/dharma-guns?mc_cid=79aa822ebd&mc_eid=677ab1a28d

FULL FLOWER MOON BAND SHARE NEW SINGLE ‘PARTY HARD’

LISTEN HERE

FOURTH ALBUM AFTER DARK OUT FRIDAY FEBRUARY 26 VIA IMPRESSED RECORDINGS
PRE-SAVE ALBUM HERE

SUPPORTING FOO FIGHTERS THIS NOVEMBER JUST ANNOUNCED: SUPPORTING POWDERFINGER IN 2027

The shapeshifting rock outfit Full Flower Moon Band, fronted by Kate ‘Babyshakes’ Dillon, return today with ‘Party Hard’, the second single from their fourth album After Dark, out February 26 via Impressed Recordings.

This November, they support Foo Fighters in Brisbane and Townsville, bringing new material and fan favourites to their biggest stages yet. Then in late 2027, they’ll join Powderfinger on their newly announced tour, playing Hobart’s Cornelian Bay Oval and the Brisbane Showgrounds.

LISTEN TO ‘PARTY HARD’ HERE

‘Party Hard’ started with a single line: you can’t say that you partied hard if it was easy. Dillon thought it might turn out to be a light-hearted rock and roll song. Instead, it became something heavier, carrying the weight a music community holds in private. This life moves fast and asks a lot of people. We get things wrong, we try to make amends, and we need each other through it.

That’s where the chorus lands. “‘Let’s get forgiven’ is my way of saying: ask for forgiveness, not permission, to live the life you want,” says Dillon. “That doesn’t make the hard parts disappear. It means reaching for someone’s hand and continuing together.”

Far from a straight celebration of the rock and roll lifestyle, ‘Party Hard’ is for the people who keep a scene alive when it’s messy, difficult and misunderstood. The friends, the fans and the artists who keep showing up for work that doesn’t always lead to money or recognition, because some things have no reward and still have meaning.

After Dark was written over a single month in New York, after Dillon was awarded the Grant McLennan Fellowship, a competitive award given to one Australian songwriter a year. She applied wanting to feel like a small fish in a big pond again, after the pond in Brisbane had started to shrink.

New York had other ideas. “I was expecting to be excited, then the excitement started falling away,” Dillon says. “I was photosynthesising the quality of light I was getting at the time into something that was not feeding me in the way I expected. So it turned into a much darker lived experience.”

From a Lower East Side apartment beside a graveyard, she could see the prison where Epstein died, Columbia students protesting on the footpath below and Trump’s motorcade passing on its way to court. The album isn’t about any of those moments, but it was written from inside them. “I felt as though I was the only one who blinked,” she says. “The rest of the city seemed to absorb all of this and remain the so-called ‘city of dreams’ for everyone else.”

For the first time in five years, Dillon made a record without her regular band, channelling something too singular to share. Slow to write and quick to record, it also saw her hand over the controls for the first time, bringing in Melbourne producer and drummer Jim Rindfleish from the earliest stages. “I wasn’t just recording, I was learning a new way of working,” she says. “Jim stepped into a fragile body of work and a mood that I was still living inside of and masterfully steered it to shore. I was seen with new eyes and felt room to grow.”

It’s her most personal and transformative record yet, one that leaves room for mystery and offers no tidy resolution. “I would say that I survived this album,” she says. “I didn’t make it from a triumphant place, but I made it.” Now she’s looking forward to living with these songs for a long time and breathing new life into them on stage.

After Dark follows Megaflower (2024), which debuted at #1 on the ARIA Australian Album Chart, sold out its first vinyl pressing in a week and won The Triffid’s Album of the Year. Iggy Pop has spun the band on BBC Radio 6 Music, their songs have been synced on Netflix’s Heartbreak High, The Runarounds, and Jack Black, Fred Durst and Noel Fielding count themselves fans.

LISTEN TO ‘PARTY HARD’ HERE

PRE-SAVE AFTER DARK ALBUM HERE

MICHAEL WARD Navigates the Turbulence of Love and Heartbreak on ‘Little Yellow Aeroplane’

Western Australian singer-songwriter Michael Ward returns with ‘Little Yellow Aeroplane’, a deeply personal, emotionally charged grunge-rock track that explores the psychological turmoil of a young man trying to end a toxic relationship.

Winner of the Homegrown Hundred National Countdown and an established touring artist, Ward has built a strong presence across Western Australia through songs grounded in real-life experiences. While his recent single ‘How Good Can This Get?’ reflected on slowing down and appreciating the present, ‘Little Yellow Aeroplane’ explores the conflict between loving someone and knowing that leaving may be the only way to reclaim your own life.

More than 20 years in the making, ‘Little Yellow Aeroplane’ was first written on Ward’s front porch overlooking Bunbury’s southwest landscape, sitting alongside his younger brother. Drawing on the dynamic intensity of early 2000s alternative rock, the track channels heavier influences through raw vocals, driving bass and explosive guitar.

The track contrasts an idyllic sunset with the chaos unfolding in his mind, giving ‘Little Yellow Aeroplane’ a cinematic sense of emotional disconnection. At the heart of the track is a painful choice. Staying means continuing to lose himself, while leaving means hurting someone who does not yet understand why he has to go. Ward explains:

“He feels like he’s drowning, and either path he takes involves pain, either his own or that of his partner. He hates himself for being unable to find a way for both of them to be happy.”

Musically, ‘Little Yellow Aeroplane’ turns that conflict into sound, shifting between intense, full-bodied sections and quieter moments of vulnerability. A relentless bass line and wailing guitar drive the track toward its final eruption.

‘Little Yellow Aeroplane’ is out now. Catch Michael Ward on tour with Morgan Joanel following the release, with full dates below.

Tour Details

Fri, Nov 13 – 459 Bar, Perth

Sat, Nov 14 – King River Tavern, Albany

Sun, Nov 15 – Indian Ocean Hotel, Scarborough

Sun, Nov 29 – Launceston Country Music Festival, Launceston

Fri, Dec 18 – Nickel Bar, Kambalda

Sat, Dec 19 – 33 Degrees, Esperance

Sun, Dec 20 – Lucky Bay Brewery, Esperance

Follow Michael Ward

MOTHICA RELEASES EPIC NEW SINGLE MY CONFESSION
WATCH THE VIDEO

Mothica – the LA-based singer, performer, and visual artist McKenzie Ellis – has released her haunting and powerful new single My Confession (SharpTone Records) alongside a cinematic fantasy video directed by Micah Hamilton.

Her latest epic release follows this year’s Somewhere In Between EP and sees Mothica continuing to explore her heaviest and loudest sonic terrain to date.
“My Confession is one of those rare songs that fell out of the sky. I wrote it as a stream of consciousness, singing a seemingly endless amount of verses that just kept pouring out into my very crappy home recording setup,” McKenzie explains. “Lyrically, it changes perspectives from me talking about my fans to talking about past relationships and then about my addiction. I brought my demo into the studio with producer Elliot Polokoff and co-writer Trever Stewart and we added a chorus that sums up the song: holding onto pain because it’s comfortable. The lyric I am most proud of is: ‘it’s easier when I suffer / gives me reason to bite.’ Sometimes being angry is easier than feeling grief or sadness. And I have sought out chaos because it’s what I am used to. Who would I be if I finally learned my lesson?”

Mothica is confirmed to support Of Mice & Men at their upcoming California shows in Santa Ana and San Diego, before embarking on a UK and European tour in early 2027.

The critically-acclaimed Somewhere In Between EP earned Mothica praise and support from Kerrang! (cover story), The Creative Independent (feature), Knotfest (She’s With The Band podcast), Hit Parader, Spotify’s All New Metal playlist, MARVIN, CBC Music, Metal Anarchy, and more. A remix for HEALTH arrived soon after, and in June she released the Somewhere In Between (mothicorp’s lofi breakroom beats) EP, which saw the five original heavy and dynamic tracks remixed beyond recognition.

More new music and tour dates will soon be announced.

MY CONFESSION – OUT NOW https://bfan.link/my-confession

GILLIAN WELCH & DAVID RAWLINGS ANNOUNCE THE RELEASE OF BOOTS NO. 3: THE HICKORY SHOW ON FEBRUARY 12, 2027
ESSENTIAL BOOTLEG FROM 1997 HICKORY, NORTH CAROLINA SHOW AVAILABLE FOR THE FIRST TIME AS PART OF THE WELCH AND RAWLINGS OFFICIAL CATALOGUE

Gillian Welch and David Rawlings, whom the New York Times has hailed as “American folk masters,” announce the release of Boots 3: The Hickory Show (February 12, Acony Records) a live album from Gillian Welch and David Rawlings, taped by Bill Bost & David Rawlings on September 27, 1997 at Hickory, North Carolina’s Acoustic Stage at the Arts and Science Center Auditorium.

This legendary performance, initially a famous bootleg circulated among fans of Welch and Rawlings’s music, captures the duo at a pivotal moment in their artistic evolution, one year after the release of their debut album Revival and a full year before their acclaimed follow up Hell Among The Yearlings. The Hickory Show now takes its rightful place as an essential document in the Welch and Rawlings catalogue, a foundational record of two up-and-coming songwriting masters.

PRE ORDER “BOOTS NO.3 – THE HICKORY SHOW”

Gillian Welch shares about the live album, “our singing and our playing on that recording is razor focused, whereas now, I hear a greater breadth of what we’ve done for years. It makes me a tiny bit wistful, I hear it and I’m like ‘oh, I remember that. That’s all we could do.’ But I love it, and we did it with every ounce of our being.” David Rawlings adds, “it’s only at truly great shows that you’re relaxed enough, and that the sound is good enough, that you can actually be exploring stuff that you’re working on in real time in front of an audience.”

Today, Welch and Rawlings share their first two tracks from the album, “Tear My Stillhouse Down” and their cover of Townes Van Zandt’s “Pancho & Lefty.” Welch shares about their version of “Pancho & Lefty,” “One of the most extraordinary things about the Hickory show, and it’s present in the version of “Pancho and Lefty,” is, even though we play that song and we’ve never played it and we don’t know what we’re doing, I don’t really detect any fear. We’re very comfortable and, alright, this solo is gonna be really long because we don’t know how else to get out of it, and we just do it, there’s a strange maturity that in some ways were only just coming back around to.”

LISTEN & DOWNLOAD

Boots 3: The Hickory Show captures the September night in 1997, in the hushed 400 seat theatre, where Welch and Rawlings—with nothing more than their two guitars, two voices, and four microphones—begin to carve out their sonic identity in real time. This recording is a precious early snapshot of the pair, laying the groundwork for their preferred live presentation—two sets, intermission, several encores, no opener—a format they settled on and has become beloved by fans lucky enough to have experience the duo perform live.
The duo has previously announced a tour of Australia and New Zealand in early 2027 (full dates below). Tickets for these dates are on sale now here.

VISIT GILLIAN WELCH & DAVID RAWLINGS STORE

LOVE POLICE PRESENTS An Evening with
GILLIAN WELCH & DAVID RAWLINGS

Mon Feb 8, 2027 – Regal Theatre – Perth, WA, Australia

Tue Feb 9, 2027 – Regal Theatre – Perth, WA, Australia // SOLD OUT

Thu Feb 11, 2027 – Albert Hall – Launceston, TAS, Australia

Fri Feb 12, 2027 – Forth Pub – Forth, TAS, Australia

Sat Feb 13, 2027 – The Paragon Theatre – Queenstown, TAS, Australia // SOLD OUT

Sun Feb 14, 2027 – Odeon Theatre – Hobart, TAS, Australia // SOLD OUT

Mon Feb 15, 2027 – Odeon Theatre – Hobart, TAS, Australia

Wed Feb 17, 2027 – The Civic – Auckland, New Zealand

Thu Feb 18, 2027 – BNZ Theatre – Hamilton, New Zealand

Fri Feb 19, 2027 – TSB Showplace – New Plymouth, New Zealand

Sat Feb 20, 2027 – Michael Fowler Centre – Wellington, New Zealand

Tue Feb 23, 2027 – Christchurch Town Hall – Christchurch, New Zealand

TICKETS

About Gillian Welch and David Rawlings: Gillian Welch and David Rawlings are pillars of the modern acoustic music world and their rich and remarkable careers span nearly thirty years. They have been hailed by Pitchfork as “modern masters of American folk” and “protectors of the American folk song” by Rolling Stone and the New York Times says “their combined voices operate beyond simple sonic harmony. There are emotional inquiries at play. If Welch’s voice delivers the good news or the hard news of the world, Rawlings’s voice comes underneath, asking how much deeper the sadness can go or what fresh heights the ecstatic can climb to.”

Their most recent 10th studio album, Woodland, won the 2025 Best Folk Album GRAMMY. Woodland was named for and recorded at Welch and Rawlings’ own Woodland Sound Studios in Nashville, TN. Of the album and studio, Welch said, “Woodland is at the heart of everything we do and has been for the last twenty some years. The past four years were spent almost entirely within its walls, bringing it back to life after the 2020 tornado and making this record. The music is (songs are) a swirl of contradictions, emptiness, fullness, joy, grief, destruction, permanence. Now.” The 10-song collection mingles full band tracks with intricate duet performances all tied together with the duo’s signature sound and lyricism and cements the pair’s iconoclastic position at the forefront of acoustic music.

After moving to Nashville in the 1990s, Welch was launched into the public consciousness when Emmylou Harris recorded a cover of Welch’s “Orphan Girl.” Her career continued to flourish as her 1996 debut Revival, produced by T Bone Burnett, was released to critical acclaim. Firmly on the roots music map following the release, Welch and Rawlings followed up that GRAMMY nominated album release with 1998’s Hell Among The Yearlings, a stark duet record that further solidified the duo as a force in the folk music scene.

In 2000, Welch was awarded the Album of the Year GRAMMY for her work as Associate Producer as well as a performer and songwriter on the eight times platinum O Brother, Where Art Thou? Soundtrack. Welch and Rawlings were simultaneously nominated for Time (The Revelator) which Rolling Stone called one of the best albums of the 2000s and is widely considered by critics and fans to be one of the best albums of all time. Beginning with Time (The Revelator), all of Welch and Rawlings albums have been self-produced and self-released on their own record label, Acony Records, helping to establish the duo’s fierce commitment to independent music.

2003’s Soul Journey was the pair’s first experimentation with a fuller, electric sound, which paved the way for the Dave Rawlings Machine project, and their first release under Rawlings’ name (A Friend of A Friend, 2009), which was accompanied by a time period of heavy touring and headlining major festivals.

The Harrow and The Harvest returned to the duet sound and was nominated for Best Contemporary Folk Album and Best Engineered Album at the 2012 GRAMMYs, and won Artist of the Year (Welch) and Instrumentalist of the Year (Rawlings) at the Americana Honors & Awards. The album garnered glowing reviews and topped multiple year end “Best Of” lists.

Nashville Obsolete, the last project to be released as Dave Rawlings Machine in 2015, showcased Rawlings’ expanding pallet as a producer with more lavish arrangements, strings, and guest musicians. He also produced albums by Willie Watson, Dawes, Old Crow Medicine Show, and Robyn Hitchcock. “Cumberland Gap” from Poor David’s Almanack in 2017 was nominated for Best American Roots Song and was featured in Guy Ritchie’s film The Gentlemen and and has since become one of the duo’s highest streaming songs.

To celebrate the twenty year anniversary of the Welch-Rawlings partnership in 2016, they launched an archival branch of Acony Records, entitled Boots, dedicated to releasing outtakes, demos, bootlegs, and live recordings from their copious vault.

In 2018, Welch was the first musician to receive the Thomas Wolfe Prize for Literature. The award is bestowed by University of North Carolina Chapel Hill’s Department of English & Comparative Literature and recognizes contemporary writers with a distinguished body of work.

2019 saw Welch and Rawlings nominated for an Academy Award for “Best Original Song” where they performed their singing cowboy duet live at the Academy Awards. “When A Cowboy Trades His Spurs For Wings” was written for the Coen brothers’ film The Ballad Of Buster Scruggs. In 2020, the duo released All the Good Times, the first album under both their names, and won the GRAMMY for the Best Folk Album. They were crowned with the Berklee American Masters Award and honored by Americana Music Association with a Lifetime Achievement for Songwriting.

Welch and Rawlings continue to tour the world in support of their music while simultaneously writing and lending their talents to countless fellow artists’ projects. They are continuously working to release their acclaimed catalog on vinyl of the highest possible fidelity. Acony Records is proud to be partnering with Paramount Pressing & Plating in Denver, Colorado, a joint venture between Rawlings and esteemed plating craftsman Gary Salstrom, to produce superior vinyl records.

HARRIET HAWTHORNE DEBUT EP BEGINNER’S LUCK? OUT NOW

LISTEN HERE

SHARES NEW SINGLE ‘HONEY I’M HOME’

When emerging pop artist Harriet Hawthorne teased ‘Honey I’m Home’ on TikTok, the clip raced past 200k views in two days, with comment after comment insisting it had to be an unreleased Olivia Rodrigo song. It’s Harriet’s own, the glitter-pop centrepiece of the Perth songwriter’s debut EP Beginner’s Luck?, out today, with a Perth headline show at Four5Nine this evening.

LISTEN TO BEGINNER’S LUCK? HERE

On the single Harriet says, “My best friend was telling me about all the romantic gestures from the boy she was seeing when she said exasperatedly, ‘Ughhh, at this point, just say Honey, I’m home!’ I put it straight in my notes app and told her it would go into a song one day. By the time I wrote it, I was in the same position she’d been in. It captures those debriefs where you analyse every interaction a million times over, so much so that in the studio we layered recordings of my best friends and I laughing and chatting into the song.”

From there it takes off running. ‘Anybody With Eyes’ turns the agony of not being someone’s first love into a hook you’ll be singing before you clock what it’s about. ‘Waiting Out The Rain’ is the gut-punch at the centre of it, written while Harriet was losing three of the people closest to her and hearing “I love you” for the first time in the same breath. ‘Bitch With A Guitar’ is the one that started it all, a high-energy middle finger to the person who told her not to write a song about it. ‘Eleanore’ struts in named after the fake ID she carried at 17, all coming-of-age-movie swagger. It lands on ‘Lucky Them’, just Harriet and a piano and her favourite lyric she’s ever written, “I always wondered why in shells I hear the waves,” a line about believing something is real only to find it never was.

Reflecting on the EP, Harriet comments, “I’m so beyond proud of Beginner’s Luck? as a body of work. It’s a collection of stories about my firsts – my first love, relationship, friendships and heartbreak, alongside my first experiences of finding my feet as a young artist and woman. The title of the EP links to each song in a unique way, while also reflecting my frustration with having my achievements reduced to being ‘lucky’. Behind everything I’ve done is an incredible amount of hard work, drive and determination, and I’m so proud to say that Beginner’s Luck? is the product of that.”

Every single she’s put out has been building toward this, and each has left a mark on its way through. ‘Waiting Out The Rain’ hit #11 on the AMRAP Community Radio Metro Charts and #4 on the Pop Charts, while ‘Bitch With A Guitar’ landed airplay across triple j Home & Hosed, triple j Prism, triple j Unearthed TOPS, RTR and NOVA FM’s AUS Music Show with Maddy Rowe as a Fresh Find, plus coverage at Off The Record, Reverie, The West Australian, Xpress Mag, AMNplify, Future Music Mag, Amped Up Local, Aus Music Scene, Auspop Now and New Music Monday.

These songs all start the same way, in her bedroom with a notes app full of half-finished lines, before producer Calvin Bennett helps her build them into the versions she’s been hearing in her head all along. There’s Blondie in the attitude, The Cranberries in the melodies and Chappell Roan in the gloss. It’s a sound she took for a very public test drive on Australian Idol, where a stripped-back ‘Scar’ won over Kyle Sandilands, Marcia Hines and Amy Shark and carried her to the Top 21, barely a year after debut single ‘Flowers Laced With Vitriol’ arrived in 2025.

Six songs, a run of firsts, and a heart worn firmly on the sleeve. Call it beginner’s luck if you want, but nobody writes an EP this sharp by accident. Whatever comes next, luck won’t have much to do with it.

LISTEN TO BEGINNER’S LUCK EP HERE

BEGINNER’S LUCK EP TRACKLISTING:

HONEY I’M HOME

ANYBODY WITH EYES

WAITING OUT THE RAIN

BITCH WITH A GUITAR

ELEANORE

LUCKY THEM

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RINRIN. AUSTRALIAN ALT POP X ROCK ARTIST RINRIN SHARES VIDEO FOR HER ANTI-SANTA CHRISTMAS ANTHEM IT’S CHRISTMAS TIME
SUPPORTING WINDWAKER NATIONALLY THIS NOVEMBER + PERFORMING AT GOOD THINGS FESTIVAL IN MELBOURNE

FEARLESS RECORDS recently welcomed Australian alt pop x rock artist RINRIN to the label’s global roster.

She has now shared her super irreverent, mega-catchy, super fun yet lyrically thoughtful anti-Santa Christmas anthem, It’s Christmas Time.

“We’re told Santa gives presents to all the kids? Well what about poor kids, homeless kids, orphans?,” RinRin asks. “They won’t get that same treatment. This song is about the rage felt by these kids who have their hopes broken by the injustice of Santa.”

Watch the video here:

It’s Christmas Time is not your typical holiday track spreading merriment and Yuletide cheer. And that’s why you will absolutely love it! It might be the most wonderful time of the year but RinRin is far more content being on Santa’s naughty list and receiving a stocking full of coal. While Christmas songs are often celebratory, RinRin embraces delightful darkness with It’s Christmas Time. Explosive breakdowns, eruptive riffs, and “f” bombs are generously sprinkled among her soaring vocal melodies, shimmering synths, and mirthful sleigh bells. RinRin flips the bird to Christmas conventions like Santa and his seemingly arbitrary giving of gifts, so be sure and add this one to your holiday playlist!

F**k Jingle Bells. RinRin ain’t having any of that!

It’s easy to see why Fearless has scooped RinRin up and signed her! She doesn’t just blur genre lines — she completely obliterates them like a head-on collision into hyper-pop, fuchsia-soaked madness. Her label debut fever dream is a whirlwind that is perfect for the TikTok generation in search of its next North Star. It landed New Music Friday across eight countries when it dropped. Her musical style and songs feel like their own elaborate universe, weaving together soaring euphoric melodies, blistering guitar work, pulsing electronics, and emotionally charged lyricism into an experience that’s equally suited for a festival main stage, an anime opening sequence, or a late-night drive with the windows down. Watch the video for fever dream, which mixes animation and live footage, here.

RinRin will support Windwaker nationally this November for their smile, you’re on camera tour, and will also perform at the Melbourne edition of Good Things Festival on Friday 4 December.

IT’S CHRISTMAS TIME – OUT NOW

https://rinrin.ffm.to/itsxmastime

RINRIN SUPPORTING WINDWAKER

TOUR DATES:

FRIDAY 30 OCTOBER – MAGNET HOUSE, PERTH 18+

SUNDAY 1 NOVEMBER – THE GOV, ADELAIDE LIC AA

MONDAY 2 NOVEMBER – NORTHCOTE THEATRE, MELBOURNE 18+

THURSDAY 5 NOVEMBER – METRO THEATRE, SYDNEY LIC AA

FRIDAY 6 NOVEMBER – KING STREET BANDROOM, NEWCASTLE 18+

SATURDAY 7 NOVEMBER – THE TIVOLI, BRISBANE 18+

Tickets on sale at destroyalllines.com

FRIDAY 4 DECEMBER – FLEMINGTON RACECOURSE, MELBOURNE (16+)

HANA & JESSIE-LEE’S BAD HABITS ANNOUNCE NEW SINGLE ‘SOMEBODY’S FOOL’

The second single from the band’s forthcoming third album is out today, alongside a split 7” with Mick Thomas’ Roving Commission.

Hana & Jessie-Lee’s Bad Habits today have released their new single ‘Somebody’s Fool’, marking the second release from their forthcoming third album. Available on streaming platforms and Bandcamp, the single also features on a special split 7” vinyl release with Mick Thomas’ Roving Commission, pairing ‘Somebody’s Fool’ with the band’s re-recorded version of Weddings, Parties, Anything’s ‘(Still) Don’t Need Much’.

The combined release comes off the back of a shared run of 23 shows across the country in November and December 2025, when the two acts travelled together on Mick Thomas’ annual tour. The run fostered friendships and musical connections between the bands, culminating in this joint release.

‘Somebody’s Fool’ explores the familiar sting of deception, the warning signs we overlook and the cycle of second chances that can leave us questioning our own judgement. It’s a song about putting your trust in someone who repeatedly lets you down, only to realise that the person you were fooling most was yourself.

Recorded in February 2026 at The Rack Shack, upstairs at Collingwood’s Gem Bar, with Rob Muinos, the track begins as a slow, delicate ballad before steadily building into something grittier. As the hurt gives way to anger, the song gathers momentum, capturing the frustration of finally seeing someone clearly. Having become a crowd favourite over the past year, ‘Somebody’s Fool’ brings a taste of what’s to come in the band’s next chapter.

The single arrives after two years of relentless touring following the release of their previous album, Say What You Mean. During that time, the band has taken their songs to festivals, halls, pubs and bars, building a reputation on the strength of their live performances. More recently, they headed to France for an international tour, including three huge shows to thousands of people at the Binic Folk and Blues Festival in Brittany, while Say What You Mean was reissued on vinyl for the European market through Beast Records.

The band are launching this song alongside Mick Thomas’ Roving Commission and Norwood on Dec 19th at The Corner Hotel in Melbourne.

‘Brenecki’s voice is dark, slightly raspy and more soulful than country. Bad Habits are rougher, rhythmically more agile and considerably less reverential to genre boundaries.’ – Ox Fanzine, Germany

‘Hana’s melodic, sometimes fragile voice drifts over the deep, rolling swells, we just let ourselves float along with the girls’ harmonies. The setlist draws on familiar influences, but the execution is polished to perfection and delivered with genuine love for the genre.’ – Concert Monkey, France

Don’t miss Hana & Jessie-Lee’s Bad Habits on the following dates:

TUESDAY NOVEMBER 3 The Retreat Hotel, Brunswick VIC

SATURDAY DECEMBER 19 Corner Hotel, Richmond VIC
w/ Mick Thomas’ Roving Commission & Norwood

+ more shows to be announced including Nundle Rocks & TCMF

‘Somebody’s Fool’ is out now on Bandcamp & all streaming platforms.

Split 7″ Vinyl is available to order HERE.

OSCAR LADELL Shares Bittersweet Blues-Soul Single

Ahead of Debut Album. Single Out October 30 | Album Out November 20

What could have been done differently? Was there a right way to love someone? Sometimes, a relationship just wasn’t meant to be. US-born, Naarm/Melbourne-based singer-songwriter Oscar LaDell sits with these familiar questions on his new single ‘Tell Me True’, a bittersweet reflection on love, loss and the memories that linger long after a relationship ends. Rich in soul and vulnerability, the track arrives October 30, alongside its accompanying music video, ahead of his forthcoming album ‘Untouchable’.

Following a busy year of international touring in 2025, which saw him play 20 shows across the UK, Europe and United States, LaDell has recently returned from another 13-date US tour, taking him through New York, Texas, California and beyond. Alongside regular performances across Australia and New Zealand, he has shared stages with the likes of Nick Moss Band, Eric Bibb, Christone ‘Kingfish’ Ingram, Robben Ford and Charlie Musselwhite, and is now gearing up for an appearance at Queenscliff Music Festival.

On ‘Tell Me True’, LaDell’s velvety yet gritty vocals meet soft, melancholic piano and vintage acoustic guitar, creating a slow-burning blend of blues and soul. The stripped-back arrangement gives his voice room to breathe, with powerful strain landing in just the right moments to create visceral passion. The track’s warmth sits alongside its underlying sadness, with LaDell’s smoky, weathered vocals carrying the weight of heartbreak, reflection, and everything left unsaid.

‘Tell Me True’ introduces the themes of nostalgia and reflection that run throughout ‘Untouchable’, looking back on a relationship that has ended and the questions left unanswered. Moving between frustration, heartbreak and acceptance, LaDell captures the feeling of holding onto something beautiful while coming to terms with its loss.

It’s this kind of honest, everyday storytelling that sits at the heart of his songwriting, drawing inspiration from his own experiences as a full-time musician, the people he’s met on the road and the stories they’ve shared along the way. As Oscar LaDell explains:

“’Tell Me True’ is a travelling song. On an album full of late nights and scenes in grimy studios, ‘Tell Me True’ is a moment of sunshine tinged with sadness. The warmth of the music is made bittersweet by the track’s journey further and further from the happy memories with which it begins. I wanted to create a breakup song that still had a summery, gentle feeling and whose sadness and heartbreak was, by the end of the song’s journey, brought home by the beauty of what was lost.”

Accompanying the single is a picturesque music video filmed, directed and edited by Matilda Macandrew in St Bathans, Aotearoa/New Zealand. Set against sweeping mountain landscapes and tranquil waters, the visuals capture the natural beauty of the region, bringing a sense of openness and stillness to the song’s bittersweet reflections.

‘Tell Me True’ arrives Friday, October 30, alongside its accompanying music video, offering the first glimpse into the nostalgia, heartbreak and honest storytelling of LaDell’s forthcoming debut album ‘Untouchable’. The album follows on November 20, with LaDell celebrating its release at The Gem in Collingwood, Melbourne, on Sunday, November 22.

‘Untouchable’ Album Launch
Sunday, November 22 – The Gem, Collingwood (Melbourne) | Tickets

Follow Oscar LaDell Spotify | Facebook | Instagram | Tiktok | Youtube

EMPRESS ANNOUNCE SOPHOMORE RECORD ‘WE CAN MAKE A RIVER’ AND REVEAL ENCHANTING SINGLE ‘ONE BY ONE’

Naarm/Melbourne-based six-piece electro-pop collective Empress have today announced their sophomore album, ‘We Can Make A River’ – due Friday, January 29. Alongside this news is their captivating single ‘One By One’.

‘One By One’ is an intricate smorgasbord of warm analog textures and staccato percussion, effortlessly evolving as the layers slowly crescendo. Paired with Empress’ trademark three-part vocal arrangements, ‘One By One’ pulls the listener through a kaleidoscopic sonic playground of undulating rhythms and cinematic tension.

Vocalist Grace Robinson sheds light on the track’s inspiration:

“‘One By One’ is the brighter, more playful side of a record that constantly moves between darkness and light. It’s about the tiny, seemingly insignificant moments that end up holding us together. A night spent laughing with friends, drinking wine, dancing in someone’s kitchen or making music with the people you love. None of these moments necessarily feels monumental while it’s happening, but somehow, one by one, they become the things that keep us afloat.”

Click to stream ‘One By One’

Reuniting after years spent carving out their own distinct solo paths, Empress return with ‘We Can Make A River’, the follow-up to their 2023 debut, ‘Daughter’. Self-produced in-house by band members Noah Hutchinson and Christy Wositzky-Jones, and mixed and mastered by engineer Nick Herrera (two-time Grammy nominee and nine-time ARIA Award winner), the record culminates the six members’ artistic and creative growth over the last three years.

Grace continues, “A river isn’t made by one drop of water, and neither is this record. It’s six different voices and six different musical perspectives finding a way to move together. Sometimes it rushes, sometimes it meanders, sometimes it takes a completely unexpected turn. It’s messy, fluid, occasionally chaotic and all the more beautiful for it.”

The announcement continues a banner run for the band, following the success of the recent single ‘Whole Night’ and standout festival appearances at Wonder Mountain Festival and Cairns Festival. These build upon celebrated past performances at Dark Mofo, Beyond The Valley, Strawberry Fields, and Meadow Festival, as well as sharing stages with luminaries such as Sampa The Great and Hiatus Kaiyote.

‘One By One’ is available worldwide now

LISA RICHARDS SAIL THE BIG WIDE WORLD

A Rollicking Folk-Roots Tribute to 1904 Medical Pioneer Sparks a Broader Anthem for Female Empowerment and Audacity Across Generations
Acclaimed Australian singer-songwriter Lisa Richards has announced the official release of her striking new single, “Sail the Big Wide World,” out 12 October 2026.
Serving as the lead single from her upcoming 11-track album, Small Revolutions—Richards’ ninth independent record—the track delivers an unvarnished human performance that bridges continents, blending classic 1970s acoustic intimacy with a contemporary roots drive.

THE BIGGER PICTURE: AN ANTHEM FOR THE AUDACIOUS WOMANWhile sparked by a specific family lineage, “Sail the Big Wide World” expands into a universal, rallying cry for female autonomy, ambition, and defiance against domestic constraints. Built upon the poignant lyrical juxtaposition—“Your father never told you keep your ambition small / stick to raising babies, you’re a woman after all… why be a nurse you could be a doctor”—the song shifts from a personal history into a timeless folk anthem. It directly addresses the systemic dampening of women’s dreams, transforming historical struggles into a celebration of contemporary empowerment.

“It’s like they always told you you were born to be extraordinary, it’s your job to change the world, you’re a woman after all.” — From “Sail the Big Wide World” Lyrics

THE 1904 MEDICAL PIONEER STORY At the heart of this mid-tempo, narrative-driven song is an uplifting tribute to Richards’ grandmother, Dr. Eulalia Richards—a trailblazing medical pioneer born in Michigan in 1878. Refusing the limits of her era, Eulalia graduated medical school in 1902 and, in 1904, successfully challenged restrictive entrance rules to pass the Licentiate of the Royal College of Physicians examination in Glasgow, opening doors for generations of women.

She later ran the Sydney Adventist Hospital and co-authored the 787-page Ladies’ Handbook of Home Treatment (1917) to advocate for women’s healthcare autonomy.

“My grandmother broke glass ceilings long before the term existed. Recording this song live onto tape across the Pacific—working with world-class players in LA—seemed like a fitting way to honour her audacity and legacy, and to remind every woman that she has the right to sail the big wide world.” — Lisa Richards

THE TRANSATLANTIC ANALOG PRODUCTION The production marks an extraordinary cross-Pacific collaboration. Richards reached out cold from Australia to Grammy-winning Los Angeles producer Tyler Chester, who was instantly drawn to the track.

After Richards tracked vocals and acoustic guitar in Australia, Chester assembled an ensemble of world-class LA musicians at Bell Choir Studios. In a single three-hour session, the band tracked live alongside her recorded performance, running simultaneously onto 2-inch magnetic tape. Mixed and mastered by three-time Grammy winner David Boucher, the analog technique captures a living warmth.

ABOUT LISA RICHARDS Lisa Richards is an acclaimed Australian singer-songwriter whose sound seamlessly weaves folk, roots, blues, Americana, country, and jazz.

With eight independent records to her name, “Sail the Big Wide World” serves as the opening chapter to her ninth studio release, Small Revolutions.

Known for her clear vocal delivery and vivid narrative songwriting, Richards has built an international career exploring resilience, autonomy, and the complexities of the human condition.

EUROPEAN TOUR & ANCESTRAL CONNECTION

The single arrives ahead of Lisa’s November 2026 tour across Germany and Denmark, carrying a rare ancestral connection. Eulalia’s father, architect William Conqueror Sisley, designed landmark institutions across Europe, including the Hamburg Publishing House in Germany (1894–95) and the Frydenstrands Sanitarium in Frederikshavn, Denmark (1894–97). Over a century later, Richards will tour the exact cities built by her great-grandfather, performing a tribute to the woman he raised.

FORTHCOMING ALBUM: SMALL REVOLUTIONS

Small Revolutions is scheduled for release in 2027. Written as an acoustic counterweight to modern socio-political tension and AI-generated music, the 11-track project explores themes of female agency, war, loss, and the decline of small towns. A second single is scheduled for release in February 2027.

UPCOMING TOUR DATES

08 Nov 2026 – Copenhagen Listening Room, Denmark

12 Nov 2026 – Kultavida, Ahrensburg, Germany

14 Nov 2026 – Die Goethe, Hamburg, Germany

17 Nov 2026 – Karo, Bremen, Germany

19 Nov 2026 – Kulturschoepfer, Berlin, Germany

Feb 2027 – Australian National Tour (East Coast)

Spotify: https://open.spotify.com/artist/5ZnaxHWQoAvXmm8FL4MVoX?si=q6DjY-4TTX23Ep1umrEWUg

Facebook: https://www.facebook.com/LisaRichardsworld

Instagram: https://www.instagram.com/lisarichardsworld

Get a new song every month : http://www.patreon.com/lisarichardsworld

DESTROY ALL LINES, LUCIDITY & VALHALLA TOURING PRESENT CONVERGE

First Australian & New Zealand Headline Tour Since 2019

Few bands have left a mark on the landscape of heavy music quite like Converge.For more than three decades, the Massachusetts four-piece have existed at the intersection of hardcore, punk and metal, creating music that is as emotionally confronting as it is sonically devastating. Never content to follow trends or compromise their artistic vision, Converge have built a legacy on intensity, innovation and an unwavering commitment to doing things their way.Now, following the sell-out of Melbourne’s inaugural Lucidity, Converge announced their long-awaited return to Australian and New Zealand stages in March 2027, marking their first Australian tour since 2019.

While 35 years might be a good time for some bands to look back and celebrate their achievements, Converge are doing quite the opposite.In 2026, vocalist Jacob Bannon, guitarist Kurt Ballou, bassist Nate Newton and drummer Ben Koller delivered not one but two new full-length albums, Love Is Not Enough and Hum of Hurt, reaffirming why they remain one of the most vital and influential bands in extreme music. Released through Deathwish / Epitaph, the two records explore different sides of the band’s creative identity. Where Love Is Not Enough leans into the metallic ferocity that has defined much of their career, Hum of Hurt is a rawer, more dynamic and emotionally exposed collection, drawing on the band’s hardcore foundations and an ever-evolving approach to songwriting. Of course, any discussion about Converge inevitably returns to 2001’s Jane Doe. Widely regarded as one of the most important and influential heavy albums of the 21st century, Jane Doe helped redefine what hardcore and metalcore could be. Its collision of chaotic aggression, emotional vulnerability and striking visual identity established a blueprint that countless bands would follow, yet few have come close to replicating.Twenty-five years later, its impact remains undeniable.

To celebrate that milestone, Converge will headline the inaugural Lucidity in Melbourne on Saturday 13 March, performing Jane Doe in its entirety in an extraordinarily rare appearance. The sold-out event will be only the third time the band has performed the album in full, following appearances at Roadburn in 2016 and Decibel Metal & Beer Fest in 2021.The headline tour is your chance to experience the full force of a band whose catalogue spans 35 years of relentless creativity, from the records that helped shape a genre to the new music proving that their fire burns as fiercely as ever.Joining Converge across the Australian headline dates are Extortion, the country’s uncompromising powerviolence veterans, whose ferocious live performances have earned them a formidable reputation, alongside Melbourne metalcore outfit Ends in Tragedy.

Texan experimental metal punks Portrayal Of Guilt will also join Converge for their additional Melbourne headline performance and both New Zealand dates, bringing their own boundary-pushing collision of hardcore, black metal and extreme music to the tour.With an extraordinary body of work behind them and two formidable new albums to draw from, Converge remain a band driven not by nostalgia, but by the same creative urgency that first set them apart.Thirty-five years in, Converge are still pushing forward. And in March 2027, Australia and New Zealand will experience it firsthand.

TOUR DATES
Thursday 11 March: The Rechabite, Perth
w/ Extortion, Ends In Tragedy, Territory

Friday 12 March: Lion Arts, Adelaide
w/ Extortion, Ends In Tragedy, Stressed

Saturday 13 March: Lucidity, Melbourne SOLD OUT
w/ Oathbreaker, Extortion, Portrayal of Guilt and more
Exclusive Jane Doe 25th anniversary full-album performance

Sunday 14 March: 170 Russell, Melbourne
w/ Portrayal of Guilt, Terminal Sleep, Persecutor

Wednesday 17 March: Factory Theatre, Sydney
w/ Extortion, Ends In Tragedy, Lo!

Thursday 18 March: The Triffid, Brisbane
w/ Extortion, Ends In Tragedy, Nerve Damage

Saturday 20 March: Meow Nui, Wellington
w/ Portrayal of Guilt, Wiegedood & Libbianski

Sunday 21 March: Powerstation, Auckland
w/ Portrayal of Guilt, Wiegedood & Libbianski

PRESALE: Monday 9 November, 10:00am AEDT
GENERAL ON SALE: Wednesday 11 November, 10:00am local time

WARDRUNA Norwegian Modern World Music Masters, Release Helvegen II

A new recording and music film for one of the band’s most defining songs

Wardruna release a new recorded version of their landmark song “Helvegen”, accompanied by a new music film directed by longtime collaborator Tuukka Koski. The song is released today via By Norse Music and on 12” coloured vinyl.

First released in 2012, “Helvegen” has evolved through more than a decade of performances, new orchestrations, collaborations and guest appearances, progressively taking on a life of its own.

Wardruna’s composer Einar Selvik elaborates: “For some years now, we have been quietly working on a new recorded version of Helvegen. Not to replace the original, but to reflect what the song has gradually become.

“Over the years, it has found its way into the lives of people around the world in ways we could never have anticipated. We have received countless stories of Helvegen finding its way into funerals and memorials, weddings and births, and moments of both profound grief and great joy. It has become part of communal singing traditions in places far beyond Scandinavia and has found new voices in many different languages.

At some point, we realized that the song no longer existed only as the version we recorded in 2012. It had become something larger, shaped by the people who embraced it and by the countless moments in which it had been given a place and a purpose. This recording is our way of acknowledging that journey.

If this new recording offers anything beyond itself, it is to encourage a renewed relationship with song, not only as something we perform or listen to, but as something that can accompany us through life.

A tradition does not truly survive when it is merely remembered, but when it is lived.”

Listen to Helvengen II here
https://bfan.link/helvegen-II

Watch the video here
https://youtu.be/4Iuc0Eaw7Rs

Released alongside this new recording is a new music film directed by longtime Wardruna collaborator Tuukka Koski.

Finnish dancer Sofia Ruija brings the role of the deceased to life through her powerful movement and expression, accompanied by Krummi the raven, silently witnessing the crossing. Together, the recording and film reflect what Helvegen has gradually become through more than a decade of performances and the countless lives in which it has found a place.

Tracklist
Helvegen II
On vinyl only:
Helvegen (Skaldic Version)

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FOLLOW WARDRUNA
Web | Facebook | Instagram | YouTube | Vimeo

BOMBUS Announce New Single – Shoes To Fill

Swedish rockers Bombus return in early 2027 with their new album No Magic.

Stripped of anything unnecessary, the record leaves only what truly matters: thunderous riffs, powerful melodies, and an undeniable sense of urgency. The result is the band’s rawest and most uncompromising album to date.

Choosing “Shoes To Fill” as the first taste of our upcoming album sets the tone from the very first note. Riff-driven, relentlessly direct, and packed with the energy that runs throughout the entire album, it’s a rock’n’roll heavyweight that hits hard and refuses to let go.

Listen to it here https://orcd.co/blod202s01

Watch the video for Shoes To Fill here https://youtu.be/GmWyu4cmp8M

FINNEGAN’s HELL Swedish Cletic Punk’s Release New Album, Glorious Mess

Swedish Celtic punk band Finnegan’s Hell return with their new full-length album Glorious Mess – a celebration of the glorious chaos of everyday life.

Rooted in Irish melody-driven music, the band blends accordion, flute and bouzouki melodies with distorted electric guitars, pounding drums and an unmistakable punk attitude.

Lyrically, Glorious Mess explores life’s setbacks and the characters who stumble through it all. True to the Celtic punk tradition, the highs and lows of alcohol remain a recurring theme, but underneath the whiskey-soaked choruses lies an honest reflection on embracing failure, getting back on your feet and finding humor in the mess.

Recorded at Union Station in Malmö, Sweden and mixed and mastered by Antti Vuorenniemi Palaez, the album captures the band at their most dynamic – from melody-driven anthems to the fastest and most uncompromising songs they have ever recorded.

With Glorious Mess, Finnegan’s Hell continue to forge their own take on Celtic punk: deeply rooted in tradition, unapologetically loud, and filled with unforgettable melodies that refuse to leave your head.

Watch Embrace the Glorious Mess You´re In

https://youtu.be/e9aQyDMK5Zw?si=8bX0A5l0myMegvrb

Glorious Mess Is out now

https://orcd.co/king142

SYCCO ANNOUNCES ALBUM TOUR East Coast run this January

Look Up out now via Future Classic

LISTEN HERE

Following a series of pop-up and secret solo shows, Melbourne artist/producer Sycco brings her arresting new album Look Up to life on tour this January with her full band.

Sycco says: “I am ready and so excited to play the new album live with my band this January. We are putting a lot of thought into the production and visuals to make it really special. The pop-ups have been so fun and I can’t wait to take you on a proper journey from the bedroom to the dancefloor”.

Look Up, featuring the rousing title track and Phil Collins-inspired “I’ve Loved & Lost”, was released last month and is already setting up to be one of the albums of the year, having scored Rolling Stone’s Record of the Week and a J Award nomination for Australian Album of the Year, as well as rave reviews from creators, fans and critics alike. First single “Look Up” was added to rotation at triple j and FBi immediately on release and features in EA SPORTS FC 27, and the Phil Collins-inspired “I’ve Loved & I’ve Lost”. McLeod also recently picked up a co-writing credit on the My Brilliant Career soundtrack, contributing to Jess Hitchcock’s track “Burn It Down.”

Look Up follows Sycco’s critically acclaimed, ARIA-nominated, J Award-winning debut Zorb, made with collaborators including Flume, Chrome Sparks, Mallrat and Stylaz Fuego, has amassed more than 80 million career streams. Over her short career, Sycco has placed twice in triple j’s Hottest 100 was championed by Spotify (RADAR, EQUAL, GLOW), Apple Music (Up Next) and Amazon Music (Breakthrough). She has supported Tame Impala, Remi Wolf and Glass Animals on national tours, and scored international radio support from BBC Radio 1, KCRW, KEXP and SiriusXM.

Cult Artists, Bossy Music and Topic Artists present

Sycco “Look Up’ Album Tour

Supported by triple j

Tickets onsale now at www.syccoworld.com

Fri 15 Jan 2027: Howler, Melbourne

Sat 16 Jan 2027: Oxford Art Factory, Sydney

Fri 22 Jan 2027: The Brightside Outdoors, Brisbane

AS I LAY DYING Release Crushing New Single ”The Cost To Stay”. Self-Titled Studio Album out February 5, 2027

Following the announcement of their forthcoming self-titled new album via Napalm Records, out February 5th 2027, Grammy-nominated metalcore pioneers AS I LAY DYING return with their latest single, “The Cost To Stay”. For 25 years, the band has helped shape the global metalcore scene through eight acclaimed studio albums, uncompromising heaviness, and unmistakable melodic songwriting. This striking new chapter continues that legacy by turning emotional restraint into crushing metalcore intensity. Driving riffs, pounding drums, and soaring melodic tension frame a powerful song about self-erasure, invisible chains, and the cost of sacrificing who you are to preserve a false peace. As the track builds from suffocating calm to explosive release, its raw urgency and anthemic chorus deliver the exact blend of uncompromising sound and emotional impact that defines AS I LAY DYING.

Tim Lambesis on the new single:

“’The Cost To Stay’ is about realizing that sometimes the life you’re trying so hard to hold together is the very thing you need to leave behind. For a long time, I confused endurance with strength, compromising until I was losing pieces of myself just to avoid conflict.

Eventually, I had to recognize my own part in that cycle and accept that real change meant being willing to start over, even knowing there would be consequences.

From the outside, that can look like everything falling apart. But sometimes walking away is the first step toward building something healthier. That willingness to change, rather than keep repeating the past, is a big part of the perspective behind this new AS I LAY DYING album.”

Watch the official music videos for “The Cost To Stay”

https://youtu.be/iNfv4lZzriE

AS I LAY DYING on the new album:

“Making this the first self-titled AS I LAY DYING album felt significant because the record feels like both a continuation and a reset. We weren’t trying to recreate one era of the band or force the songs into a narrow definition of what AILD should sound like. We wanted to bring together everything we naturally gravitate toward: melody, aggression, speed, heaviness, emotion, atmosphere, and big riffs, while making sure every song still felt unmistakably like AS I LAY DYING.”

The album represents a natural evolution of the band’s sound, bringing together melody, aggression, speed, heaviness and atmosphere without being tied to one particular era of AS I LAY DYING. As I Lay Dying was shaped through a highly collaborative songwriting and production process. Since forming around the turn of the millennium, AS I LAY DYING have played a defining role in modern metalcore, selling more than one million albums worldwide, earning Top 10 chart positions including on the Official German Album Charts and the US Billboard 200, and influencing generations of bands with their combination of crushing heaviness, melodic songwriting and technical precision.

Tracklist:

1. Satellites
2. Echoes
3. Relentless
4. The Cost To Stay
5. Polarized
6. Retribution
7. A Heart Meant To Break
8. No Way Out
9. If I Fall
10. After The Storm

As I Lay Dying combines the band’s signature heaviness with melodic and modern elements while moving through a wide range of dynamics across the album. Lyrically, the record explores transformation, letting go and personal growth. “If I Fall” combines raw intensity with vulnerability, confronting abandonment, judgment and the strength to rise again, while “Echoes” creates a darker, emotionally charged atmosphere centered around breaking free from destructive bonds. The album was produced by Chris Clancy and Tim Lambesis, with “No Way Out” produced by Dusten Boles, connecting the band’s past and future while expanding their sound.

AS I LAY DYING – Tim Lambesis (Vocals, Additional Guitars), Chris Clancy (Bass, Main Chorus Vocals), Don Vedda (Guitar, Vocal Harmonies), Bill Hudson (Guitar) and Tim Yeung (Drums) – deliver an album that captures a broad range of the band’s sound. Guest vocalist CJ McCreery of Immortal Disfigurement appears on “No Way Out”. The artwork was created by Corey Meyers, who has worked on the band’s visual identity since “My Own Grave”.

AS I LAY DYING are:
Tim Lambesis – Vocals
Chris Clancy – Bass and Vocals
Don Vedda – Guitar and Vocals
Bill Hudson – Guitar
Tim Yeung – Drums

Pre-order As I Lay Dying

lnk.to/AILD-AsILayDying/napalmrecords

PRONG Unleash Explosive New Single “New Commission”. New Album Prong is Out November 6, 2026

New York’s alternative metal legends PRONG are back — and with their triumphant Napalm Records debut. Pummeling, punishing, and unrelenting, New York’s alternative metal legends return with “New Commission”, a cataclysmic thrash rager. Built upon machine-gun kicks, discordant riffage, and frontman Tommy Victor’s venomous barks, this one is bound to kick pitgoers back a few reading levels once it hits the stage. With their boundary-pushing fusion of classic New York Hardcore, infectious grooves, and industrial textures, PRONG reaffirms why they are not just the model, but still the standard.

About “No Commission,” Tommy states:

“This is a barn burner, banger thrasher of a song with a huge hook and a ferocious breakdown. It’s got it all!”

Check out the Official Music Video for “New Comission”

https://youtu.be/HdAbU6uy1HE

As the band’s mission statement, Prong incorporates the well of styles their legacy is built on. Blistering thrash sections open into lush choruses on the opening anthem “The Banner”, before somehow pushing the intensity even further on “New Commission”. “The Uprising” reintroduces the band’s industrial edge, weaponizing textured synths over a pulsating two-step, before “Uncertain Truth” flexes its melodic chops, offering a transcendently sweet hook. Immediately, the band dropkicks listeners in the chest with the pummeling “Fear The Sun,” inciting classic New York Hardcore pit violence. Iconic vocalist and guitarist Tommy Victor’s chops come out in full swing on “Proportionate Response”, a smoldering incitement of retaliatory justice, before the blistering kicks of “Simulated Drowning” propel us forward. Album closer “Our Continuance” brings things to a cataclysmic close with its menacingly methodical pulse and pummelingly discordant breakdowns, tied together with a lush chorus amplified with swelling synth textures.

Mixed and mastered by Andy Sneap, the album sounds crisp and punchy; Victor’s biting lyrics are confrontational and infiltrating, driving listeners to contemplate complex matters like the validity of truth, self-inhibitors, and altruism. Dynamically bold, ideologically driven, and melodically infectious, Prong honors their legacy, reminding us why the band has had such a successful longevity.

The album will come in a myriad of formats, including a Black LP, Inkspot Cristallo/Red LP, White Label LP, digital album, and a CD, which will come with two bonus tracks, “Out of Body” and “Cruel Summer”, the latter of which is a cover of the Bananarama classic. Additionally, there will be two T-shirt bundles, one for the CD and one for the LP.

Order Your Copy of Prong

lnk.to/Prong-Prong/napalmrecords

CHARLOTTE WESSELS’ The Obsession . Releases New Single, “Incubus”

New Album, Mute Swan Empire, Set For Release on February 5, 2027

After recently announcing the new full-band studio album, Mute Swan Empire, for February 5, 2027, Dutch artist CHARLOTTE WESSELS today unveils the record’s first single, entitled “Incubus.” Together with her band, now dubbed The Obsession, Charlotte has crafted a character-driven concept album in which each of its 15 songs embodies a different archetype, a personified response to the crises of our world and the perceived end of the Anthropocene. Together, these characters form a fractured portrait of humanity, revealing the ways we confront collapse, all woven into a sonic multiverse that defies genre-categorization.

Enter “Incubus,” a journey through choral soundscapes and heavy instrumentals, inspired by Henry Fuseli’s “The Nightmare” painting. The song gives a face to archetype the Insomniac: it’s about lying awake at night, and about discovering that endurance itself can become a form of power.

The new single arrives with an official music video and serves as the first harbinger of the Mute Swan Empire’s universe.

CHARLOTTE WESSELS about “Incubus”:

“‘Incubus’ is about the things that keep us awake at night, both literally and figuratively. It introduces the Insomniac, one of the archetypes that inhabit Mute Swan Empire: a character lying awake beneath the weight of an incubus, wearing a mask made up of her fears, worries and the many crises unfolding around her. Inspired in part by Henry Fuseli’s painting The Nightmare, the song explores that peculiar space where our inner anxieties and the horrors of the outside world begin to blur. But there is also a certain strength in this character and the very act of perseverance. As the song puts it: ‘You can’t break what’s already broken. You can’t burn what is made of fire.’

I’m so excited to finally share this piece of Mute Swan Empire with the world. This album has grown into a universe of its own, and I can’t wait for people to start meeting the characters that inhabit it, starting with this sleepless soul.”

Watch the official music video for “Incubus”

https://youtu.be/4xyoh6PlXRY

CHARLOTTE WESSELS about the new album, Mute Swan Empire:

“I didn’t set out to write a concept record from the start, but somewhere along the way, I began to realise that all the latest songs I’d written were connected. Each of them seemed to embody a different response to the world we’re living in: denial, complicity, withdrawal, blind obedience, selective empathy, but also hope and connection, and so on. I started to recognise these recurring themes and archetypes, and eventually realised they were all part of a much bigger story. I found myself wanting to follow this thread as far as it would take me, exploring the concept through the music first, and eventually through the artwork and imagery too.

That discovery became the foundation for Mute Swan Empire. What fascinates me is how easy it is to recognise these responses in others, and how much harder it can be to recognise them in ourselves. I didn’t want an album that simply points fingers or offers easy answers. I wanted to explore the contradictions, the uncomfortable grey areas, and the possibility that we can change.

Musically, the same freedom to follow wherever a song leads has resulted in a record that moves between some of the heaviest music we’ve made and moments of vulnerability. Despite how varied the record is, I think we’ve never sounded more together like a band. Everyone brings something distinct to the music, and I’m really proud of what happens when all those elements come together.”

Pre-order your copy of Mute Swan Empire

lnk.to/CharlotteWessels-MuteSwanEmpire/napalmrecords

The title Mute Swan Empire draws on the myth of the swan song: the belief that a swan sings its most beautiful song just before death. Throughout history, individuals, cultures, and civilizations have had their own swan songs – final moments of beauty, meaning, or grandeur before fading away. On Mute Swan Empire, CHARLOTTE WESSELS asks: What if we don’t get one? What if we’ve pushed ourselves so close to ecological and social collapse that we’ve lost, or no longer deserve, that final act of grace? Will the swan remain silent?

Musically, the album continues the exploration of the space between heavy music and alternative influences, bringing together intricate arrangements, expansive atmospheres, powerful vocal performances and the band at its strongest. The musicians she first brought together for The Obsession have since taken on its name, growing into a close-knit live band through the past years of touring. That shared experience, combined with a more intensive production process with Joost van den Broek, and Timo Somers on top of his game joining in on the arrangements, has helped the band’s collective identity takes centre stage, giving the album a more cohesive sound, without sacrificing its dynamic range, moving between powerful, hard-hitting passages and moments of striking intimacy.

Mute Swan Empire is driven not only by the current state of the world but also by human responses to it and by how deeply entrenched some people can become in those. In addition, Charlotte drew inspiration from books, poetry, film, and literature, and the record incorporates words by two medieval mystics, Hildegard von Bingen (“In Leta Via”) and Julian of Norwich (“The Hermit Song”), as well as text from the Dutch “Denk Vooruit” campaign on “Emergency Kit.” “One Day They Will Come For You” is inspired by Martin Niemöller’s post-war confessional prose piece “First They Came For The Communists,” while “Bells Of Lynn” was inspired by and incorporates fragments of the poem of the same name by Henry Wadsworth Longfellow.

Charlotte’s work on Mute Swan Empire had already begun before she finished her previous record, The Obsession (2024). Since 2020, she has released a new song every month through her Patreon page, and her favorite tracks eventually make it onto her public albums. The earliest song to appear on Mute Swan Empire in a rearranged form is “Incantations,” which was originally released on Patreon in March 2024. Compared to CHARLOTTE WESSELS’ previous release, Mute Swan Empire features a more band-focused sound. The album was produced by Charlotte and Joost van den Broek at Sandlane Recording Facilities, where it was also mixed. In addition to Charlotte and The Obsession, the album also features Elianne Anemaat on cello on several tracks, as well as orchestral and additional keyboard arrangements by Vikram Shankar.

Mute Swan Empire is a work of art that serves as both a wake-up call and a dreamlike experience. With her truly unique artistic vision, CHARLOTTE WESSELS has created the most remarkable music of her career to date, proving why she deserves to be recognized as one of the most outstanding artists in today’s heavier music scene!

KNIFE German Speed Metallers Unleash Second Hellish Single, “Nightmare”

New Album Into Your Nightmare, Releases December 18, 2026 Via Napalm Records

Speed metallers KNIFE dive deeper into their upcoming third album with another single. The de-facto title track “Nightmare” is the opening track to Into Your Nightmare, which releases on December 18, 2026 via Napalm Records. Building up slowly and atmospherically, it explodes into a raw speed metal attack, pulling anyone into the dark that is brave enough to give it a listen.

KNIFE about „Nightmare“:

“‘Nightmare’ has already been baptized by fire during the summer festivals 2026 and it has proven that the KNIFE is still risen in merciless fury. An energetic manifesto of pure speed metal. Follow us Into Your Nightmare.”

Watch the Official Music Video For “Nightmare”

https://youtu.be/_ZXxAZFfOSg

Speed metallers KNIFE share their next swath of destruction into the scene – the German band’s furious third album, Into Your Nightmare, releases December 18, 2026 via Napalm Records. Just in time for the holiday season, the four-piece celebrates the unholy trinity of speed metal, black metal, and scabious punk. Into Your Nightmare is heavier, wilder, and definitely more grim than previous releases, resuming KNIFE’s path authentically.

Into Your Nightmare is sinister, raw, and impressively precise in its frenzy. Watch out – as this nightmare won’t let you go!

KNIFE about Into Your Nightmare:

“The KNIFE is back to give all you maniax what you need. The Chamber of Storms has opened its gates and out comes the most relentless and versatile piece of sonic steel. We are delivering the goods and you can be sure that we will continue to haunt your dreams forever. The grimness of steel is upon you! Follow us Into Your Nightmare.”

Get Your Copy of Into Your Nightmare

lnk.to/Knife-IntoYourNightmare/napalmrecords

Leading into the darkness is “Nightmare”, a track that KNIFE have already unleashed on live audiences. Sawing riffs and a crushing bass line open up the gates to metal hell, flanked by thunderous drums and frontman Vince Nihil demanding, “Follow me into your nightmare.” In the underworld, “Sulphur” bows to the Gods of rock’n’roll, while “Teeth Of The Devil” emerges as the snappiest song in the band’s career so far. Crust punk, thrash, and death metal get put through the meat grinder to make up a proper portion of deadly lunacy. With galloping “Sound Of The Requiem Bell” and the following instrumental interlude, “Home Came The Nameless Dead”, KNIFE are opening up to classic 80s heavy metal – featuring their trademark energy. The second half of the album first sweeps over listeners with “Gehenna” and its speed metal-heavy melodies and catchy chorus, ready to become the next live classic. “Insanity” offers what its title states, heading back into darkness. Just like on their first demo, Black Leather Hounds (2020), KNIFE pay homage to the true metal maniax on Into Your Nightmare, having “Raging Metal” serve just that. “Gospel Of The Grotesque” leans into extreme metal of the 80s, after which “Shadows” bundles all of KNIFE’s strengths – unmistakable proof of the band refining their sound.

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