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Pop-Punk Veterans Teenage Bottlerocket Release New Single “City At Night” Ahead Of Forthcoming EP ‘The Invisible Man’

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Teenage Bottlerocket have released “City At Night” as the lead single from their forthcoming EP ‘The Invisible Man,’ due March 6 on Pirates Press Records. The four-song EP was recorded during the same sessions that produced their 2025 album ‘Ready To Roll’ at The Blasting Room in Fort Collins, Colorado, recorded and mixed by Andrew Berlin and mastered by Jason Livermore. Each of the band’s three singer/songwriters contributes at least one track to the release.

Bassist Miguel Chen wrote the title track, a mid-tempo new wave-inflected piece built around cinematic imagery and his own need for solitude. “Despite spending my life surrounded by people I love, my family, my band, my friends, I’ve learned that I need a lot of alone time to stay balanced and happy,” he says. “Time alone is great for your well-being. I highly recommend it. Also, I love old horror movies.” Guitarist Ray Carlisle contributes “You Made Me Get Called A Poser,” inspired by a real-life moment when his kid wore a Less Than Jake shirt to school and got called out by a substitute teacher. Guitarist Kody Templeman rounds out the EP with “Pembrey’s Face,” drawn from his love of the Hannibal Lecter films. “I’ve always been a big fan of the Hannibal Lecter movies based on the Thomas Harris novels,” he explains. “Ray and I always quoted the Jim Pembrey line during the escape scene in The Silence of the Lambs.”

“City At Night” closes the EP and was previously available only on an ultra-limited 7″ included with the Deluxe Edition of ‘Ready To Roll.’ For most fans, ‘The Invisible Man’ marks their first chance to own a physical copy of the track, and the response since the digital single dropped has been nothing short of fervent. ‘The Invisible Man’ is available for pre-order from the Pirates Press Records webstore on 7″ Bone Vinyl, 7″ Violet Vinyl, and 7″ Black Vinyl, with 7″ Magenta Vinyl available exclusively at the band’s merch table on tour. The sleeve features artwork by longtime collaborator Oscar Puig, which also appears on a merch line including T-shirts, skateboard decks, patches, and stickers.

10 Soundtracks That Became Cultural Moments

Some soundtracks do more than accompany a film. They detonate. They introduce new artists, revive legends, dominate radio, and in some cases, permanently alter pop culture’s trajectory. These 10 soundtracks did not just sell. They shifted the temperature of the room and turned movies into movements.

1967 – The Graduate
Simon & Garfunkel’s songs, especially “Mrs. Robinson,” became inseparable from the film’s identity. The soundtrack won Grammy Awards and pushed folk rock deeper into the mainstream. It proved a pop soundtrack could define a generation’s mood.

1977 – Saturday Night Fever
Powered by the Bee Gees, this became one of the best-selling albums of all time, moving more than 40 million copies worldwide. “Stayin’ Alive” and “Night Fever” helped drive disco into global domination. Dance floors changed forever.

1984 – Purple Rain
Prince blurred the line between artist and myth here. The album spent 24 weeks at #1 on the Billboard 200 and won two Grammys and an Oscar. “When Doves Cry” and the title track turned Minneapolis into the center of the universe.

1992 – The Bodyguard
Whitney Houston’s version of “I Will Always Love You” became one of the best-selling singles ever. The soundtrack moved over 45 million copies globally and won the Grammy for Album of the Year. Ballads ruled the world.

1994 – Pulp Fiction
Quentin Tarantino resurrected forgotten classics and made surf rock cool again. The soundtrack hit the Billboard Top 40 and reintroduced Dick Dale to a new generation. Suddenly, retro was dangerous and stylish.

1996 – Romeo + Juliet
Baz Luhrmann’s modern Shakespeare came with Garbage, Radiohead, and The Cardigans. The album went triple platinum in the U.S. and helped cement alternative rock as cinematic currency. Love stories now had distortion pedals.

1998 – Titanic
James Horner’s sweeping score paired with Celine Dion’s “My Heart Will Go On,” which won the Oscar for Best Original Song. The soundtrack topped charts in over 20 countries and became one of the best-selling scores in history.

2000 – O Brother, Where Art Thou?
A bluegrass revival no one saw coming. Produced by T Bone Burnett, the soundtrack won Album of the Year at the Grammys and sold more than 8 million copies. Americana suddenly had a mainstream audience.

2018 – Black Panther
Curated by Kendrick Lamar, this soundtrack debuted at #1 on the Billboard 200. It blended hip-hop with cinematic ambition and earned multiple Grammy nominations. A superhero film soundtrack became a cultural statement.

2023 – Barbie The Album
From Dua Lipa to Billie Eilish, this neon pop collection debuted at #1 in multiple countries. “What Was I Made For?” won the Oscar for Best Original Song. Pink ruled the charts and the conversation.

Metalcore Force Spite Announce Spring And Summer Headline Tour With Emmure, Psycho-Frame, And Reverent

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Southern California metalcore quintet Spite released ‘New World Killer’ last Halloween via Rise Records, and they are wasting no time taking it on the road. The band have announced the NEW WORLD KILLER TOUR, a spring and summer 2026 headline run featuring Emmure, Psycho-Frame, and Reverent. The tour kicks off May 29 in Portland, Oregon at the Hawthorne Theatre and runs through June 26 in Mesa, Arizona at the Nile.

The run covers major markets coast to coast, hitting cities including Seattle, Denver, Chicago, Detroit, Toronto, New York, Philadelphia, Atlanta, Tampa, Houston, and Dallas, among others. With ‘New World Killer’ already making serious noise since its Halloween release, the tour gives fans across North America their first proper chance to hear the album live, and the lineup makes a strong case for this being one of the heaviest bills of the summer.

Spite Tour Dates:

May 29 – Portland, OR – Hawthorne Theatre

May 30 – Seattle, WA – The Crocodile

June 1 – Salt Lake City, UT – The Complex

June 2 – Denver, CO – Summit

June 3 – Lawrence, KS – Granada Theater

June 5 – Minneapolis, MN – Varsity Theater

June 6 – Chicago, IL – Bottom Lounge

June 7 – Detroit, MI – St. Andrews Hall

June 9 – Toronto, ON – Phoenix

June 10 – Montreal, QC – Beanfield Theatre

June 12 – Worcester, MA – Palladium

June 13 – New York, NY – Gramercy Theatre

June 14 – Philadelphia, PA – TLA

June 15 – Pittsburgh, PA – Roxian Theatre

June 17 – Baltimore, MD – Soundstage

June 18 – Charlotte, NC – The Underground

June 19 – Nashville, TN – Eastside Bowl

June 20 – Atlanta, GA – Masquerade

June 21 – Tampa, FL – Orpheum

June 23 – Houston, TX – Warehouse Live

June 24 – Dallas, TX – South Side Music Hall

June 26 – Mesa, AZ – Nile

Folk Dub Post-Punk Duo MEMORIALS Announce New Album ‘All Clouds Bring Not Rain’ With Lead Single “Cut Glass Hammer”

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MEMORIALS, the duo of Electrelane frontwoman Verity Susman and Wire guitarist Matthew Simms, have announced ‘All Clouds Bring Not Rain,’ out March 27 on Fire Records, and launched it with lead single “Cut Glass Hammer.” The album arrives on digital, CD, and three limited citrus vinyl editions, including an Orange Vinyl, a Lemon Vinyl (indie store exclusive), and a Lime Vinyl Bundle featuring hand-stamped art prints in a signed, wax-sealed envelope with a sticker sheet (Fire Records and Bandcamp exclusive).

Recorded in a barn studio deep in the woods of southwestern France, the album pulls from folk, dub, post-punk, experimental tape music, sixties soul, garage rock, seventies spiritual jazz, and Canterbury prog. Written, performed, recorded, and mixed solely by the two of them, it is the kind of record that sounds like it was unearthed rather than made. Additional recording took place at 4AD’s London studio for harpsichord, and at Stereolab drummer Andy Ramsay’s Press Play studio for vibraphone and vintage Leslie speaker. Listeners are already calling “Cut Glass Hammer,” which debuted at Magnet Magazine, one of the most arresting singles of the year.

The band recorded ‘All Clouds Bring Not Rain’ in the summer of 2025, after spending the first half of the year composing the soundtrack to an acclaimed Kate Bush documentary, and before heading out on tour with Stereolab across the U.S. They describe their approach plainly: “We are increasingly drawn to the way records used to be made, both the sound of the equipment used and the choices forced by that equipment. It’s far more satisfying to record sounds that exist in a real space and so become unique to us.”

MEMORIALS Tour Dates:

April 08 – Le Hasard Ludique, Paris, France

April 09 – Le Tangram, Evreux, France

April 10 – Variations Festival, Nantes, France, w/ Einsturzende Neubauten

April 11 – Calm, Limoges, France

April 12 – La Petite Populaire, La Reole, France

April 14 – Le Consortium, Dijon, France

April 15 – Le Grand Mix, Tourcoing, France, w/ Bibi Club

April 22 – The Croft, Bristol, UK

April 23 – Little Bully, Oxford, UK

April 24 – Prince Albert, Brighton, UK

April 26 – Heartbreakers, Southampton, UK

April 29 – The Lexington, London, UK

April 30 – Hyde Park Book Club, Leeds, UK

May 01 – The Castle Hotel, Manchester, UK

May 31 – Nachtasyl, Hamburg, Germany

June 01 – Kantine am Berghain, Berlin, Germany

June 02 – Noch Besser Leben, Leipzig, Germany

June 03 – Kohi, Karlsruhe, Germany

June 04 – Club Manufaktur, Schorndorf, Germany

June 05 – Bellevue Di Monaco, Munchen, Germany

June 06 – Rotown, Rotterdam, Netherlands

Folk Metal Institution Subway To Sally Unveils Haunting New Version Of Cult Track “Feuerkind”

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Subway To Sally have released a reinterpretation of “Feuerkind,” one of the most emotionally charged tracks in their catalogue, and the timing is deliberate. The new version arrives as the Potsdam folk metal band prepares to launch NACKT III – Lügen & Legenden, the third chapter of their celebrated intimate concert series, kicking off March 27, 2026 in Berlin. The accompanying music video captures exactly the atmosphere the band is building toward: fragile, haunting, and charged with the kind of raw presence that only comes from three decades of knowing exactly who you are.

“Feuerkind” originally appeared on ‘Nord Nord Ost,’ the band’s eighth studio album, which entered the German album charts at number five in 2005. The track has remained one of the most intense moments in their live repertoire ever since. This stripped-down reinterpretation pulls the song even further into the emotional core, and listeners are already calling it one of the most powerful things the band has released in years.

The band frames NACKT III with characteristic depth: “We delve deep into our history, from the quietest ballad to wild escalation, from bittersweet melancholy to unrestrained excess. What is true, what is invented, which lies have long since become legends? In an intimate atmosphere, close to you, an evening awaits us between living room and theatre stage, between poetry and pure joy of performance. Let us celebrate life, and perhaps be naked together one last time.” With the first dates already sold out, “Feuerkind” sets the tone for what promises to be an extraordinary run.

Grand Funk Railroad Legend Mark Farner Brings Rock Funk Fire To New Single And Video “Same Game”

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Mark Farner, the original frontman of Grand Funk Railroad, has released the video for “Same Game,” pairing the new track with a cinematic visual that matches his creative vision from the ground up. Farner wrote the lyrics and brought his signature lead guitar work to the song before taking it to James Romeo of J Romeo Media, who translated that vision into what Farner describes as a rock funk statement with an unmistakable message.

The video drives home the song’s central theme with over-the-top visual architecture and a charismatic presence that pulls no punches. “Same Game” carries that same high-energy, straight-talking spirit that made Farner a household name. The track’s rock funk presence and its repeated hammer of “lies, lies, lies” gives the song a sharp edge that listeners are responding to with real enthusiasm.

German Heavy Metal Veterans Dirkschneider & The Old Gang Drop Visceral New Video For “Propaganda”

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Dirkschneider & The Old Gang are keeping their word. One month after dropping their first visual from ‘Propaganda’, the German heavy metal outfit returns with the video for “Propaganda,” the album’s most unrelenting track. Released October 3, 2025 through Reigning Phoenix Music, the album has already made a serious impression, and this video now puts a face to its most combustible moment.

The song itself is a full-throttle assault built on double bass drum momentum, an aggressive guitar intro, and a riff that locks in and refuses to let go. Udo Dirkschneider and Peter Baltes trade polyphonic choir-style vocals against two-part guitar licks before the chorus erupts, sending the track’s media-critical message out at full volume. Manuela “Ella” Bibert adds solo vocal interludes and a Hammond organ performance that hits with real weight, eventually colliding with the guitar in a harmony battle that pulls from the best of the seventies and eighties.

The video delivers a visual counterpart worthy of the track’s uncompromising energy. With Babylon serving as the band’s ongoing monthly video series since the album’s release, “Propaganda” marks another chapter in a rollout that keeps delivering.

L.A. Rockers Stitched Up Heart Channel Internet-Era Swagger On New Single “Glitch Bitch”

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Los Angeles rock band Stitched Up Heart is back with “Glitch Bitch,” a heavy, attitude-soaked anthem featuring Conquer Divide, and the first single from their upcoming full-length album, ‘MEDUSA,’ due June 12 on Judge and Jury Records. The band, formed in 2010 by vocalist Alecia “Mixi” Demner, built their name on heavy riffs, anthemic choruses, and introspective lyrics. This one lands squarely in that tradition, and then some.

The song is a tribute to internet-era confidence, where online identity becomes a space for fearless self-expression. Heavy guitars drive the track forward while Mixi’s vocal performance commands every second. “This is for the twisted e-girl misfits,” the band declares, and the song lives up to that dedication with a bold, unfiltered energy that has listeners calling it one of their strongest singles to date.

The band puts it plainly: “‘Glitch Bitch’ is a love letter to every fierce e-girl baddie out there shattering expectations and leaving a trail of broken hearts in your digital wake. You’re the queens of turning pixels into power and making the internet pretty. Reminding us all that code is confidence and beauty’s a weapon.”

The music video matches that energy frame for frame. Shot with Kiarely and Kristen from Conquer Divide alongside a cast of goth and emo influencers, the video follows the band through a house party where tattoo artist Miao inks guests as the night unravels around them. Producer Howard Benson, who co-founded Judge and Jury Records with Three Days Grace drummer Neil Sanderson, signed the band after hearing ‘MEDUSA,’ recorded with Cameron Mizell. Benson says, “When I heard the amazing forward-thinking record Mixi recorded with Cameron Mizell, I immediately loved the track ‘Glitch Bitch.’ The video was fun to shoot and having Kiarely and Kristen from Conquer Divide on it just ramps up the excitement.”

‘MEDUSA’ arrives June 12, and “Glitch Bitch” makes the case that Stitched Up Heart are stepping into this next chapter with everything they have.

There I Ruined It Maps Toto Classic “Africa” Country By Country

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Comedy music mastermind Dustin Ballard of There I Ruined It just redrew the map on Toto’s “Africa,” swapping out the original lyrics for a rapid-fire roll call of every single country on the continent. What unfolds is part pop classic, part classroom speed run, delivered with straight-faced brilliance and surgical timing. By the final chorus, you are humming along and accidentally memorizing a continent.


JER Delivers A High Octane Skacore Version Of “Killing In The Name”

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Ska-core musician JER, aka Jeremy Hunter of Ska Tune Network, detonates a horn-soaked rework of the Rage Against the Machine anthem “Killing in the Name.” The track barrels forward with trumpet, alto saxophone, tenor saxophone, keys, bass, guitar, and full-throttle vocals, all performed by JER alone.