Ridley Scott once directed a 1999 Orange ad that predicted e-mail killing writing, video replacing travel, and men and women no longer needing each other. He also gave us Pepsi aliens, Apple’s hammer-thrower, and Hovis bread — proof that whether in ads or cinema, Scott always made the future unforgettable.
Phil X & The Drills Unleash New Single “I Love You on Her Lips” From Album ‘Pow! Right in the Kisser’
Phil X & The Drills share a fresh single from their recently released new album ‘Pow! Right in the Kisser’ which is out now via Frontiers Music Srl. the single is titled “I Love You on Her Lips” and has a lyric video riding alongside.
About the track, PHIL X comments: “Everybody knows a friend in a relationship where the partner says ‘I love you,’ but it’s obvious that the partner doesn’t mean it. That’s what ‘I Love You On Her Lips’ is about. Love is on her lips but not in her heart. The track goes back to an old punky Drills vibe with classic rock thrown in there. I wanted to have old David Lee Roth-type screams in there to take it over the top. I love the energy & Gary Novak delivered the perfect drums.”
About the new album, he adds:”‘POW! Right in the Kisser’ was a good ten years in the making. ‘Battleship’ was tracked in 2014. I just kept writing, and we’d record and then kept the whole ‘different drummer on every song’ thing going. It became a very special collection of songs & vibes. It’s very exciting for me to share something like that with the world.”
Rise Against Release First Album in Four Years, ‘Ricochet,’ and Drop Fiery Single “I Want It All”
Rise Against return with news of their most resounding and reinvigorating music to date. Out now on Loma Vista Recordings, Ricochet marks the rock band’s first album in four years, arriving in a world of constant stimuli, where the algorithm wants us all to be angry: like a pile of marbles hit hard and bouncing uncontrollably, continuing to spread further and further.
But across these twelve songs, produced by GRAMMY-winner Catherine Marks (Boygenius, Foals, Manchester Orchestra, St. Vincent) and mixed by Alan Moulder (Nine Inch Nails, Paramore, Queens of the Stone Age, The Killers), Rise Against ask listeners to consider who ultimately benefits from this collective division and displeasure – to look before we leap, to think about the consequences our actions have on each other, as the power structures that prod us remain preserved and protected.
Rooted in unification, Ricochet is a record massive in sound, but centred around the small parts of the psyche that lead to the biggest positive change. It all starts with oneself, and on the searing lead single, ‘I Want It All,’ Rise Against rev the engine and jump-start a mission of self-determinism that is ardent, ambitious and unapologetic.
The Ries Brothers Team With 311’s Nick Hexum on Breezy New Single “Golden Sun”
The fast-rising Florida-based duo The Ries Brothers are back today with “Golden Sun,” a relaxed and sunny, indie-infused beach jam featuring Nick Hexum of 311.
Speaking on the inspiration and origins of the song, the band says “‘Golden Sun’ gave us an incredible opportunity to work with Nick Hexum on a track, someone who has been inspiring us since our early days of picking up instruments. It was truly an honor, and what we came up with is our favorite track to date, a song that can work on a dance floor or chilling on the couch with a joint, truly music for any occasion.”
The band, having recently announced their signing with Hexum’s SKP and releasing the new singles “Coming Out Swinging” and “Destination Unknown,” are in a renaissance period, flexing their songwriting muscle by genre-blending rolling blues guitar, catchy alternative rock, groove filled jams and more.
For his contribution to “Golden Sun,” Hexum says “When the Brothers played me the demo for ‘Golden Sun,’ I was instantly hooked. The music just conjures the feeling of a laid-back beach vibe with a loved one. The first thing I added was the two bar ‘bubble guitar’ break right before the chorus, which reminded me of seafoam. Then I quickly wrote my verse about a getaway with a special someone. Really pleased to be working with The Ries Brothers both creatively and on the business side.”
Styx Announce 18th Album ‘Circling From Above’ and Drop Soaring Single “Build and Destroy”
Creating and recording new music is often considered the lifeblood of any band – an ethos AOR torchbearers STYX continue to embody with the highly anticipated release of Circling From Above, the 18th studio album in their formidable catalog via the band’s label, Alpha Dog 2T/UMe. Spanning 13 tracks, the album navigates the complexities of the human experience through the intersecting lenses of technology and nature.
While the album won’t be available on streaming or digital outlets until July 18, CIRCLING FROM ABOVE CDs and vinyl copies are also available to purchase today on StyxWorld.com for immediate delivery. They will also be available starting with tonight’s launch–and at every show–of this summer’s “Brotherhood of Rock” tour with The Kevin Cronin Band and special guest Don Felder (a former lead guitarist of the Eagles) in Greenville, SC at the Bon Secours Wellness Arena.
CIRCLING FROM ABOVE features contributions from all seven members of the band, including founding guitarist/vocalist James “JY” Young (affectionately known as “The Godfather of Styx”), guitarist/vocalist Tommy Shaw, original bassist Chuck Panozzo, longtime drummer Todd Sucherman, keyboardist/vocalist Lawrence Gowan, guitarist/vocalist Will Evankovich and bassist Terry Gowan.
The kinetic energy of lead single “Build and Destroy” is the first introduction of new music to their fans who’ve been circling around the band for over 50 years. It’s available to stream and download on all digital outlets including the band’s YouTube page, and a thrilling AI conceptual video-directed by Jay Ziebarth-will premiere today at 3:00pm Eastern Time on Mellomanic. It will be available on the band’s YouTube page at 6:00pm Eastern Time.
“That little melody, I kept singing ‘Build and Destroy,'” explains singer/keyboardist Lawrence Gowan, who takes the lead vocal. “Even though we don’t sing over that part, I kept thinking that would be a good title. It’s thematic. The melody feels like a little ‘Star Trek’ or ‘Twilight Zone’ thing – just a small tag that reinforces the title.”
Shaw and Evankovich jumped in to flesh out the verses and finalize the lyrics, and the song came together in just a day and a half. “We knew it was strong,” Gowan says. “Even though it was the second-to-last song we finished, it felt like a quick way into the album’s overall theme.”
CIRCLING FROM ABOVE is a dynamic collection that reflects the full emotional and stylistic range of the Styx canon. It’s muscular yet introspective, theatrical in moments and layered in sincerity at others – balancing progressive leanings with deeper, thought-provoking messages.
“When you start writing an album, there’s generally something that piques your imagination, and all of a sudden, you’re a storyteller starting with the seed of a story,” says Shaw. “A good song is like a straight road – it’ll get you to the next place.”
The album, the band’s third in eight years, delivers a 41-minute, end-to-end listening experience that is both thought-provoking and exhilarating. A masterclass in storytelling, it blends signature STYX hallmarks with bold steps forward – building on the creative momentum of recent releases THE MISSION (2017) and CRASH OF THE CROWN (2021).
The album was produced by Evankovich, who also helmed the band’s previous two records before becoming an official member in 2022. All 13 songs were penned in various combinations by the band’s songwriting triumvirate of Shaw, Evankovich and Lawrence Gowan. Referencing the trio’s creative spark, Lawrence Gowan says it’s not a simple case of majority rules but rather a true collaborative endeavor.
“I’ve noticed over the last three records, there’s a real effort to make sure everyone’s got a smile on their face at the end of it,” he says. “There’s creative friction, but everybody gets a go around the table and we all get a swing at the tree. And that’s really, really good.”
“It’s a strange three-way democracy for sure,” Evankovich says. “We all know that the institution of Styx is the most important thing.”
Midway through writing the album, a loose theme began to orbit the band’s creative process – a gravitational pull, if you will, guiding them down the straight road Shaw describes. In a moment of studio serendipity, talk turned to an app that tracks abandoned satellites, those silent relics of once-lofty ambition. From that spark, the opening tracks – including the title cut and “Build and Destroy” – took shape, tracing the tension between human ingenuity and the dreams we sometimes discard in its pursuit.
“When they were shot up into space, these satellites were somebody’s dream and ambition,” says Shaw of the once-cutting-edge technology now floating aimlessly through the atmosphere. “They served their purpose and they were cast aside. It’s a wasteland up there, but they were once created with love. We’re all humans, and who’s to say our love project is better than someone else’s?”
Look closely at the album cover art and you will see this thematic overture take flight. Thousands of starlings – chosen specifically for their supreme ability to work in concert together with their flight patterns – in the shape of one bird, soaring over a dilapidated satellite dish.
“They’re prevailing and we’re failing,” notes Evankovich of the cover. “We’re not like the rest of the creatures that work in stewardship together, like the birds and the bees and all the other things. We do things and then create waste for ourselves that ends up harming us.”
STYX has remained a touring juggernaut for the past 25 years, but according to guitarist/vocalist Tommy Shaw, the band’s current streak of artistic resurgence in the studio is due to multiple factors tethered to a deep sense of harmony.
“There’s just a lot of positive flow right now,” says Shaw. “There’s a lot of people playing great, and there’s a lot of love, respect and excitement about each other’s talents. Bands can go lifetimes and never have this kind of rapport and chemistry.”
Chevelle Announce New Album ‘Bright as Blasphemy,’ Drop Fierce Single “Jim Jones (Cowards, Pt. 2)”
Chevelle unleashed their first new music in four years with the hit single “Rabbit Hole (Cowards, Pt. 1)” earlier this spring, to the thrill of fans and supporters alike. It’s already at No. 9 at rock radio and is well on its way to Top 5 status.
Today, the band is excited to announce that it will release the new album Bright as Blasphemy on August 15 via Alchemy Recordings. Chevelle have also shared the lyric video for new single “Jim Jones (Cowards, Pt. 2)”
“History teaches us the longest rabbit hole has no end,” the band succinctly shares about the song. Regarding the album as a whole, Chevelle state, “Human Existence encompasses both inherent challenges and potential. It’s up to you how to pass the time. Enjoy.”
Slaughter to Prevail and BABYMETAL Unite for Explosive New Single “Song 3”
Slaughter to Prevail and BABYMETAL have released a new single, “Song 3”. The song will appear on Slaughter to Prevail’s upcoming album GRIZZLY as well as BABYMETAL’s upcoming album METAL FORTH. It’s one of the Japanese metal bands most forceful tracks to date, pairing Slaughter to Prevail’s raw, punishing vocals with BABYMETAL’s soaring, melodic choruses.
The result is tense and theatrical, but tightly controlled-a balancing act the band has long specialized in. The song was written between the UK and Russia by Slaughter To Prevail’s Jack Simmons and Alex Terrible before being sent special delivery across continents for BABYMETAL.
BABYMETAL added their vocals – lyrics, flows, and verses all centered around the concept of “3” – unleashing their signature kawaii chaos. Matt Heafy of Trivium performed the shamisen woven throughout the song, adding another unexpected layer to the madness.
The accompanying music video follows a young version of Slaughter to Prevail’s Alex Terrible, bullied and outcast, as he transforms- guided by BABYMETAL themselves-into a force capable of confronting his past. The track follows the release of BABYMETAL’s “from me to u” feat. Poppy and Slaughter to Prevail’s “Russian Grizzly In America”, both of which amassed millions of streams in less than month.
5 Surprising Facts About Van Halen’s ‘Van Halen II’
Released on March 23, 1979, Van Halen II cemented the band’s rise as one of America’s most electrifying hard rock acts. Peaking at number six on the Billboard Top LPs & Tape chart and selling nearly six million copies in the U.S., the album balanced high-energy rockers with radio-ready hooks. From “Dance the Night Away” to “Beautiful Girls,” it showcased Eddie Van Halen’s inventive guitar work and David Lee Roth’s charismatic flair. Here are five facts about the album.
1. Recorded in Just a Week
The band began recording on December 10, 1978, at Sunset Studio, only a week after finishing their world tour. They tracked the album in under a week, capturing raw energy and a live feel.
2. Songs With Early Origins
Many tracks dated back to their pre-fame demos, including “Somebody Get Me a Doctor” and “Beautiful Girls,” then called “Bring On the Girls.” Both appeared in Gene Simmons’ and Ted Templeman’s demo sessions.
3. A Hit Without a Solo
“Dance the Night Away” was the only song written fresh during the sessions. Eddie Van Halen chose not to include a traditional guitar solo, using tapped harmonics instead, giving the track a unique shimmer.
4. The Bumblebee Guitar’s Legacy
The black-and-yellow “Bumblebee” guitar featured on the back cover became iconic. Decades later, it was buried with Pantera’s Dimebag Darrell, honoring his admiration for Eddie’s playing and design.
5. Rock Meets Acoustic Firepower
“Spanish Fly” stood out as a solo showcase, with Eddie applying his rapid-fire technique to a nylon-string acoustic guitar. The brief track highlighted his versatility and expanded the band’s sound palette.
Van Halen II built on the momentum of the band’s debut while carving new directions for their sound. Blending party anthems, technical mastery, and unforgettable hooks, it proved the band was more than a one-album wonder and set the stage for their dominance of late-1970s and early-1980s rock.
5 Surprising Facts About The Police’s ‘Reggatta de Blanc’
Released on October 5, 1979, Reggatta de Blanc was the Police’s second studio album and their first to top the UK Albums Chart. It delivered two UK number-one singles, “Message in a Bottle” and “Walking on the Moon,” and won the band their first Grammy. Blending reggae rhythms with new wave urgency, the album quickly established the Police as one of the defining acts of the era. Here are five facts about its creation and impact.
Five Facts
1. A Low-Budget Recording
The album was recorded at Surrey Sound with Nigel Gray for just £6,000–£9,000, a modest sum compared to major-label productions of the time. The choice gave the band full control, free from record company interference.
2. Songs Built From Earlier Ideas
Several tracks were adapted from Sting’s earlier band, Last Exit, including “Bring on the Night” and “The Bed’s Too Big Without You.” Stewart Copeland also reshaped a college piano piece into “Does Everyone Stare.”
3. A Title With Franglais Flair
Like their debut Outlandos d’Amour, the album carried a Franglais title. “Reggatta de Blanc” loosely translates as “White Reggae,” reflecting the band’s unique fusion of rock, pop, and Jamaican rhythms.
4. The Police’s First Grammy Win
The instrumental title track earned the Police their first Grammy Award, winning Best Rock Instrumental Performance. It began as an extended live jam based on “Can’t Stand Losing You.”
5. “Message in a Bottle” As A Breakthrough
Written by Sting, the lead single became the band’s first UK number-one. Its universal theme of loneliness and connection, paired with Andy Summers’ layered guitar textures, made it a career-defining song.
Reggatta de Blanc captured the Police at a moment of explosive creativity, turning spare resources into worldwide acclaim. With its blend of inventive songwriting, reggae-infused grooves, and chart-topping singles, the album solidified their place on the global stage and remains a landmark of late-1970s rock.