Coleman Jennings has released his debut label EP ‘Ride On’ via Big Loud Texas/Mercury Records, a five-track introduction to one of country music’s most authentically distinctive new voices. Produced by Grammy-winning veteran Dave Cobb (Chris Stapleton, Sturgill Simpson) and recorded in part in a stream of creative consciousness at Cobb’s studio in Savannah, Georgia, the EP showcases Jennings’ hypnotic vibrato and his fearless range across Western, folk, honky tonk, outlaw, Americana, old-time, and bluegrass. All five songs are solo-penned by Jennings, joining already released tracks “Head Spinning” and the seventies-style harmony-rich “Jamie” with three new additions.
Jennings is clear about his approach: “I just love what I love. I don’t care about genre and I have no guardrails on what I do. My favorite artists are open to writing things that challenge, stuff that makes people think, and my dream is to take that all the way.” A student of music who cites Townes Van Zandt, The Eagles, Blaze Foley, John Hartford, and Lynyrd Skynyrd as inspirations, Jennings carries the DNA of the great American troubadour tradition while moving it forward on his own terms.
The Texas native has been building his live presence alongside the release, recently supporting Dwight Yoakam on a run of dates through February and into March, and hosting an ongoing residency at Austin’s Sagebrush every second and fourth Monday of the month.
Playing For Change has released a new Song Around The World version of The Doors’ “Riders on the Storm,” honoring the band’s 60th anniversary with a global collaboration featuring original members John Densmore and Robby Krieger alongside the legendary vocals of Jim Morrison and a tribute to Ray Manzarek. Joined by over 20 musicians and dancers from eight countries, the performance reimagines one of rock’s most haunting anthems through the lens of unity and musical connection, opening with the Lakota Drum Group grounding the song in ancestral rhythm before expanding into something genuinely moving.
The collaboration brings together magnetic performances from Lukas and Micah Nelson, Sierra Ferrell, and Rami Jaffee of the Foo Fighters, among many others. “Riders on the Storm” carries particular weight as a starting point. Released in June 1971 on ‘L.A. Woman,’ it was the last song recorded by all four original Doors members and the final single released before Jim Morrison died in Paris just weeks later. Their longtime producer Paul Rothchild famously walked out of the sessions, refusing to produce the album after calling the track “cocktail music.” The band co-produced ‘L.A. Woman’ with engineer Bruce Botnick, resulting in a rawer, bluesier sound that has only deepened the song’s legacy over six decades.
The release also marks a full-circle moment for Playing For Change Foundation, as the collaboration will help support their first music program established in America, developed in partnership with Indigenous-led non-profit First Peoples Fund. The program uplifts Indigenous communities and ensures that the rhythms, stories, and voices that open this performance continue to inspire well beyond it.
Debbie Sings, the Berlin-via-Copenhagen singer and producer, has released her new EP ‘Oh My’ via BIG OIL Recordings, alongside its second single “Sucker Punch.” A largely self-written, self-produced, and self-recorded project created while moving between Copenhagen and Berlin, the eight-track EP was built primarily from bedrooms, borrowed studios, buses, and coffee shops, with Debbie relying on Logic, Nexus by reFX, distorted drums, and heavily processed vocals to create something raw, immediate, and deliberately imperfect. The exception is “Sucker Punch,” co-produced with her friend The Bird, which dials up the intensity with distorted synths, punchy club drums, and Debbie’s rawest vocal delivery to date. Her own description of the song lands with characteristic directness: “Sucker Punch is a song about being sick of bullshit. It is about feeling like kicking some ass and eating everything on the menu.”
‘Oh My’ follows Debbie’s February 2025 debut album ‘Debbie’s Songs,’ which earned the number one spot on Soundvenue’s Danish Albums of the Year list and introduced her as a genre-hopping force in the Scandinavian underground. Where that record ranged freely across electronic, punk, country, and pop, ‘Oh My’ sharpens the focus into something more uniform, more electronic, more punk, and more unapologetically club-oriented. Inspired by early-2010s electroclash and artists like Peaches and Uffie, the EP leans into escapism, humour, and restless energy. Debbie frames it plainly: “Oh My is a reflection of a lot of internal and external chaos channelled into eight tracks. It’s electro-pop-punk music for the dance floor or the floor of your bedroom, made for getting lost, letting go, and carrying on.” Listeners and critics alike are already responding with the kind of enthusiasm that greeted first single “Sunny Skies,” which earned editorial support from NME, CLASH, and The Line of Best Fit.
An alumna of Copenhagen’s Rhythmic Music Conservatory, Debbie joins a lineage of forward-thinking artists including Clarissa Connelly, ML Buch, Smerz, and Astrid Sonne. High-profile admirer Oklou has already taken notice, and Debbie’s chaotic, high-energy live show has reached eye-watering heights, most notably performing to a packed crowd at Roskilde Festival. With ‘Oh My,’ she positions herself as one of contemporary pop’s most boundary-less DIY forces, making music for fast bikes through the city, late-night clubs, and moments of invincibility that feel slightly delusional but deeply human.
The Twilight SAD have announced their long-awaited sixth album ‘It’s The Long Goodbye,’ due March 27 via Rock Action Records, and have shared new single “Designed To Lose,” the second track on the record. A beautifully meditative yet muscular reflection on the human condition, the song hinges on how we can seem doomed to lose in so many of our endeavours, including our capacity to cope with loss itself. It follows lead track “Waiting For The Phone Call,” released last October, and together the two singles frame one of the most anticipated post-punk records in years.
The album is the most personal work the band has made. Singer and lyricist James Graham is direct about what drove it: “In the past I’ve used a lot of metaphors within my lyrics. With this, there’s not as much. The record is heavily influenced by my mental health, grief and loss, and the need to be strong in positions where you’re not feeling it. It’s a very human story, I think, this is just my version of it. I feel that everybody goes through something like this. Everybody loses somebody. Everybody questions life.” The record reflects on his mother’s illness, her subsequent death, and his own mental health struggles, developed over seven years with guitarist Andy MacFarlane stockpiling musical ideas during lockdown while exchanging words and sounds with Graham. The Cure’s Robert Smith, a longtime close friend of the band, provided input on the demos and guests on the record, supplying extra guitars on “Waiting For The Phone Call,” guitars and Tron keys on “Dead Flowers,” and six-string bass on “Back To Fourteen.” The album was produced by MacFarlane at London’s Battery Studios, with additional production from Andy Savours (My Bloody Valentine) and mixing by Chris Coady (Slowdive), with David Jeans (Arab Strap) on drums and Alex Mackay (Mogwai live) on bass.
Graham frames the album’s purpose with characteristic openness: “I want to be a relatable person that talks about things that can happen and give an opportunity for people to go, well, you’re not alone. I want people to be able to listen to this record and hear that it comes from a place of raw emotion.” The Twilight SAD head out on an extensive headline tour across Europe and the UK in April and May, including two nights at Glasgow Barrowlands and a performance at the Roundhouse in London, followed by dates as special guests to The Cure in June and July, including festival appearances at Pohoda Festival and Deer Shed Festival.
‘It’s The Long Goodbye’ Track Listing:
Get Away From It All
Designed To Lose
Attempt A Crash Landing – Theme
Waiting For The Phone Call
The Ceiling Underground
Dead Flowers
Inhospitable/Hospital
Chest Wound To The Chest
Back To Fourteen
TV People Still Throwing TVs At People
The Twilight SAD Tour Dates:
April 12 – Milan, Italy – Legend Club
April 14 – Zurich, Switzerland – Bogen F
April 15 – Munich, Germany – Ampere
April 16 – Berlin, Germany – Gretchen
April 18 – Copenhagen, Denmark – Loppen
April 19 – Oslo, Norway – Parkteateret
April 20 – Stockholm, Sweden – Slaktkyrkan
April 22 – Hamburg, Germany – Grünspan
April 23 – Utrecht, Netherlands – Tivolivredenburg Pandora Hall
April 25 – Cologne, Germany – Gebäude 9
April 26 – Brussels, Belgium – Rotonde – Botanique
Shaking Hand have shared “Cable Ties,” the final single from their debut album, out now on Melodic. One of the first tracks the band ever wrote, the eight-minute poly-rhythmic post-rock epic rises and falls constantly, pushing against structure with sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. It is the kind of track that rewards full attention and announces a band with a genuinely distinct compositional voice.
The band’s musical DNA runs through experimental guitar outfits like Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions sit at the intersection of structure and collapse, never quite settling, always in motion. Listeners already deep into the album are calling it one of the most fully realised debut records in recent post-rock memory.
Goldfinger, one of the architects of the U.S. ska-punk explosion of the mid-to-late nineties, have released their new studio album ‘Nine Lives’ via Big Noise Music Group, distributed through Virgin Music. The record finds the band leaning into the sound that made them icons while pushing forward with sharp songwriting and the signature mix of punk urgency and ska-infused hooks that has defined their career since John Feldmann, Simon Williams, Darrin Pfeiffer, and Charlie Paulson formed the band in 1993. Their breakthrough single “Here in Your Bedroom” hit heavy rotation on KROQ and launched them into worldwide tours and punk notoriety alongside Rancid, No Doubt, Sublime, and The Mighty Mighty Bosstones.
Today, Goldfinger carries that torch with a powerhouse lineup featuring Feldmann on lead vocals and production, Charlie Paulson on guitar, Mike Herrera on bass, Nick Gross on drums, and Moon Valjean on guitar. ‘Nine Lives’ marks a bold new chapter, the band still evolving while staying true to the roots that earned them a Guinness World Record for performing 385 shows in a single year and a fanbase that spans generations. With hundreds of millions of global streams and a dedicated following across platforms, their influence on ska-punk’s ongoing resurgence remains as sharp and unshakably fun as ever.
South Florida post-hardcore outfit Good Night Moon have returned with their first release in nearly 20 years, a fully re-recorded self-titled EP now available on all streaming platforms. The five-song collection was produced by Matt Marino (Fame on Fire, MGK) and Ian Marchionda (Suck Brick Kid, Superbloom), mixed by Aaron Marsh (Copeland), and mastered by Jonathan Berlin (Underoath, Anberlin), bringing the band’s early-2000s sound into sharp, modern focus while preserving the emotional core that made them a staple of Florida’s independent music circuit. Vocalist JB Corey is candid about what drove the project: “We only kept songs that translated well 20 years later. These songs about heartbreak, healing, and growing as a person still resonate at 36 as they did at 16. Maybe they are in different context but I still feel like the same person when we wrote these songs and their meaning just hits different now.”
Good Night Moon built their reputation performing at iconic Florida venues including Ray’s Downtown Blues, Spanky’s, Swampgrass Willies, and The Orange Door, earning a regional following that grew into opportunities to open for Bayside, Hellogoodbye, Taking Back Sunday, and My Chemical Romance. The band disbanded in 2009, and the return to these songs has carried real weight for everyone involved. “Revisiting these songs after two decades has been surreal,” the band shares. “They’ve been melodies stuck in our heads for 20 years. To finally bring them back to life and share them with our fans, friends, and families has been a full-circle experience.” Keeping the project rooted in the community that raised them was a deliberate choice: “It’s a reflection of the community that helped us grow, both musically and personally.”
The EP’s return to life comes with a return to the stage. Good Night Moon have announced their first live shows in over a decade, with performances at Swampgrass Willie’s in Palm Beach Gardens on April 17 and Will’s Pub in Orlando on April 18, both featuring special guests Five Cent Wish and Northvale.
Good Night Moon EP Track Listing:
We Cure The Hearts
Music Is My Medicine
Her Achilles Heel
Crossing The Brooklyn Bridge
Hard to Breathe
Good Night Moon Tour Dates:
April 17 – Palm Beach Gardens, FL – Swampgrass Willie’s
Space Of Variations have released “Ghost Town,” a riff-heavy new single from their third album ‘Poisoned Art,’ out now via Napalm Records. The track delivers the explosive four-piece at their most focused, furious verses and an infectious chorus colliding with the kind of heartfelt emotional weight that has become their signature. It signals a new era for the band, their ever-evolving sound pushing further into territory that blends brutality and melody without sacrificing either.
The band is direct about what the song means: “‘Ghost Town’ is about the feeling of waking up from a dream while still carrying it inside you, as if it were real. In that dream, you lost someone important, and no matter what you do, you can’t find them again. It’s the sense of loss that seeps from the dream into reality.” That emotional core runs through ‘Poisoned Art’ at every turn, an album the band describes as a product of the darkest period of their lives. “The war in our country changed everything dramatically, and the full spectrum of emotions we experienced during that time is reflected in this album. It’s angry, melodic, honest, and fatalistic.”
‘Poisoned Art’ is bold, unbroken, and unapologetic, a record that pushes the boundaries of modern metalcore while remaining grounded in lived experience. “Ghost Town” makes the case that Space Of Variations are not just keeping pace with the genre but actively directing where it goes next.
Blacklite District, the project helmed by Kyle Pfeiffer, has announced “Man Down,” a raw, biographical new single that chronicles his journey from collapse to comeback, arriving as the next chapter in the darker, mature sonic era introduced by recent single “Paper Towels.” The track fuses rock, hip-hop, and atmospheric production into something cinematic and emotionally direct, expanding on the noir-inspired introspection of its predecessor while pushing the narrative further into the moment where a person chooses to move forward instead of staying broken.
Pfeiffer has built Blacklite District on the foundation of turning real-life adversity into art, and “Man Down” is the most direct expression of that instinct yet. The song dives into the moments he felt knocked to the ground, personally and professionally, then follows the determination and grit it took to stand back up and rebuild. With fan-favorite tracks like “With Me Now,” “Just So You Know,” and “Cold As Ice” already anchoring a catalog that has surpassed one billion global streams, Pfeiffer’s fiercely loyal audience has grown into a community rooted in music, gaming, and online culture, bolstered further by his collaboration with Minecraft creator Rainimator and a landmark 2025 partnership with Duetti.
“Man Down” arrives ahead of a forthcoming album that promises a cohesive portrait of an artist who refuses to let past setbacks define his future. Where “Paper Towels” opened the door to this new era, “Man Down” kicks it wide open, delivering a rallying cry for anyone who has ever been counted out and transforming personal scars into fuel for what comes next.
Gibson Films has announced the worldwide premiere of ‘Iommi: The Godfather of Heavy Metal,’ a new limited music docuseries streaming exclusively via Gibson TV throughout 2026. Volume one is available now, tracing the life and legacy of Black Sabbath guitarist Tony Iommi from his working-class upbringing in Birmingham, England, through the genre-defining riffs and groundbreaking albums that forged the foundations of heavy metal and inspired generations of players worldwide.
Volume one features in-depth interviews with Iommi himself alongside a star-studded lineup of peers and disciples including Brian May, Slash, Zakk Wylde, Yungblud, Scott Ian, John 5, Phil Anselmo, and Blackie Lawless, with appearances by Tom Morello and Troy Van Leeuwen, and firsthand accounts from Birmingham icons Rob Halford and Justin Broadrick. The series examines how Iommi’s innovations continue to reverberate across musical styles and eras, cementing Black Sabbath’s place as the architects of one of the most enduring genres in modern music history. Iommi is characteristically humble about the tribute: “Hearing the kind words from so many incredible artists is really humbling. Thank you all for telling the story with such heart, and to the fans who’ve kept it alive. Long may it continue.”
Gibson President and CEO Cesar Gueikian frames the project with fitting weight: “Tony Iommi is the godfather of heavy metal, the creator, the sonic architect, the rifflord who started it all. It’s an incredible honor for all of us at Gibson to pay tribute to Tony with this epic Gibson Films release.” As the Summer of Love faded and an ominous new sound rose from Birmingham, Iommi’s work with Black Sabbath birthed a musical language that became a way of life for millions, and this series tells that story with the depth and scale it deserves.
