Thunder Bay based heavy outfit The Fixer unleashed “Ugly Knots,” a punishing single that arrived alongside their “The Ugly Knots Tour,” which wrapped earlier this fall with hometown allies Teknosis. Blending industrial metal abrasion with hardcore urgency and atmospheric tension, the track surges from harsh electronics and serrated riffs into a sweeping melodic release. The structure mirrors the song’s emotional arc, pulling listeners through confrontation, release, and resolve in one unbroken motion.
“Ugly Knots” stands as one of the band’s most focused and expressive statements, pairing crushing weight with intent and clarity. A spoken word passage delivered by John Forget adds lived in gravity, grounding the song’s message of strength and resilience. The track hits with force and purpose, capturing a defining moment for The Fixer and preserving the intensity of a chapter already lived loud on stage.
With the overwhelming response to their first single in over two years “Silent Divide,” acclaimed rockers Alter Bridge are back with another song from their upcoming 8th studio album, Alter Bridge. “What Lies Within” is now available via all digital service providers from the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums. The song opens with a driving guitar riff from Kennedy and Tremonti as before the rhythmic groove of Marshall and Phillips pushes the song. The lyrics are a cautionary tale of the darkness inside mankind as Kennedy sings “What lies within, beneath the skin, something so dark and foreboding.”
With more than two decades performing together, acclaimed rockers Alter Bridge show no signs of slowing down. Known for their memorable riffs, infectious vocal melodies and dueling guitar attack, the quartet have garnered themselves massive critical and fan acclaim around the globe. The band looks to continue that trend when they release their self-titled, eighth studio album next year via Napalm Records. Alter Bridge will be released on January 9, 2026, first physical formats for pre-order are now available at: https://www.lnk.to/AB-AlterBridge.
Alter Bridge is comprised of 12 all new tracks from the band and features some of their most iconic moments on record. Songs like “Rue The Day,” “Disregarded” and “Scales Are Falling” will fit alongside any of the classic songs from Alter Bridge’s catalog. “Trust In Me” shows Myles and Mark sharing vocal duties as Myles handles the verse duties while Mark takes the chorus. That strategy is flipped on “Tested And Able” as Mark handles the verses and Myles takes on the choruses behind one of the band’s heaviest intros to date, giving way to an unforgettable melody. “Hang By A Thread” is sure to become a show favorite as it hints at some of the most popular songs in the band’s catalog. The album closer “Slave To Master” is an epic track that Alter Bridge has come to be known for and is the longest song the quartet has recorded to date. The first single, “Silent Divide,” has been moving up the Active Rock charts since it was released last month and has been viewed over 2 million times since it was released. The band worked with longtime collaborator and producer Michael “Elvis” Baskette on their eighth album. Alter Bridge was recorded over 2 months this Spring in the legendary 5150 studio in California and Elvis’ recording studio in Florida.
Legendary singer, composer and transgender activist Beverly Glenn-Copeland today announces his new studio album, Laughter In Summer. A collaborative effort born from the love story between himself and eco-poet, theatre actor and producer Elizabeth Copeland, the record is due out 6th February 2026 via Transgressive Records and available to preorder here. Alongside the announcement, the Copelands share the moving double single “Children’s Anthem” / “Let Us Dance (Movement One)”. “Let Us Dance (Movement One)” opens the record’s nine tracks, all captured in a single take, while “Children’s Anthem” dates from the couple’s early years together, originally penned for a teachers’ workshop on bullying.
Commenting on the two tracks Glenn and Elizabeth say: “Let Us Dance holds deep personal meaning for us as a couple, and it’s one of our most favourite songs to perform together. It’s a gentle reminder that life invites us to embody joy through movement, no matter the circumstances, no matter how difficult the path. Originally published on Keyboard Fantasies, this choral rework features a newly minted Montreal choir that we met mere moments before recording Movement One. It’s raw and honest – much the way we live our lives now.”
“Children’s Anthem was one of our very first creative collaborations as a couple, originally written in 2007 for an anti-bullying conference. We’re bringing it back on this new album with a fresh arrangement dedicated to our precious granddaughter Freya. We hope it will serve as a rally cry to support and protect all the children of the world. At a time when violence has become endemic, this song and its message is more critical than ever.”
From the moment we are born, we begin the long walk home. Elizabeth and Beverly Glenn-Copeland started down the path together nearly half a century ago, and have been trailing it since, hand in hand and song by song. Together, they’ve made a life sharing their unselfish hearts—ones too large for earthly configuration—through art and community, encouraging us all to take our own dance down the road with elemental love and grace.
Now, as Glenn lives with a version of Dementia known as LATE, their walk has taken on a different weight. Out of this season comes Laughter In Summer, an album the couple made together—realizing, before long, that it was a love letter to one another: a tender ledger of memories, shared devotion, grief and joy.
Elizabeth has now rightly taken her place as producer of Glenn’s work, shaping Laughter In Summer alongside their music director, Alex Samaras. The album’s title comes from a song born almost accidentally. Glenn, as his cognitive impairment advanced, began composing a series of instrumentals he called Songs With No Words, meant for listeners to write their own lyrics. One day he played one such piece for Elizabeth. Sitting by a lake, listening to loons and gazing at the sky, words rose up in her: laughter in summer, how I remember. “It was a very painful time,” she recalls, “because I was so aware of just how much of my sweetheart I was losing.” My life, my joy, on Earth, here, with you, she sang. The words came as a gift, as if from the loons themselves.
In 2024, before a Montreal performance, they were invited to spend a few days recording alongside producer and engineer Howard Bilerman (Godspeed You! Black Emperor, Vic Chesnutt, and Wolf Parade) at the iconic Hotel2Tango. There was no plan to make a record. They simply wanted to capture the songs they had been singing on tour, joined by a choir of Montreal voices gathered by Alex. None of the singers had rehearsed with Glenn and Elizabeth. As the engineers were getting the mic levels set, Glenn, Elizabeth and the choir loosely rehearsed their first song. This rehearsal is what you hear on Let Us Dance, Movement 2. Every other song on the record was done in Glenn’s preferred style–one take only.
As Glenn’s executive functioning diminishes, his musical being—“and I would say his heart self,” Elizabeth adds—only grows stronger. At least once a week, they sit together and name what is being lost. “Because when you deny an emotion,” Elizabeth says, “it becomes frozen within you.” The making of Laughter In Summer became another way of being present with each other—songs not just as compositions but as testaments.
“From the moment we are born, we are walking towards our deaths,” Elizabeth says. “And that’s okay. In order for there to be birth, there must be death.” Glenn tells her that when he goes, he will be able to be with her even more than now. For Elizabeth, the thought is both comfort and pain. But what sustains them both is Glenn’s refusal to stop giving. “Sometimes he’ll hold my hands and say, ‘I have so much more to give. I’ve got so much to give these young people.’”
British singer songwriter SAPPHIRE continues her deep dive into love and conviction with “The Last Thing,” a vibrant pop single driven by upbeat acoustic guitar and warm, intoxicating beats. Built around a bold hook and familiar phrasing reshaped into something personal and powerful, the song captures the rush of realizing just how much one person matters. Her vocal delivery carries both tenderness and resolve, turning the line “if it’s the last thing that I do” into a statement of devotion and creative intent.
“The Last Thing” reflects SAPPHIRE’s steady rise across stages and airwaves, fueled by sharp songwriting and an unmistakable voice. The track feels alive with momentum, balancing emotional intensity with a sense of forward motion that suits her growing live presence. It shines as a confident, heartfelt release that underscores her instinct for turning big feelings into pop moments that linger well beyond the final chorus.
Upstate New York based artist Dotsun Moon shares the ‘Moments In The Sun’ EP, a four song shoegaze and dreampop release shaped by reflection, memory, and emotional stillness. Created in Buffalo by multi instrumentalist Richard Flierl, the EP leans into soft focus guitars, patient tempos, and melodies that feel designed for late night listening. “Army of Me” pairs a gentle piano opening with expressive guitar bends before opening into a wider emotional frame, while the title track wraps synth and guitar together in a slow moving glow.
Engineered and mastered by Doug White at Watchmen Studios, the EP carries a warm, intentional sound that rewards close attention. “Winter Streets” mirrors the quiet pressure of a Buffalo winter, building from restraint into motion, while “Piano Trailer 5” nods to the ambient legacy of Harold Budd and Brian Eno. ‘Moments In The Sun’ feels centered and sincere, offering shoegaze for right now with textures that linger and emotional clarity that settles in slowly.
Seattle based artist AudioGust releases “Easier,” the second single from his third album ‘Falling From Down’, out now. Following the post grunge punch of “Isotope,” the new track digs into the mental weight of constant bad news, opening with introspective verses before erupting into a high energy pop punk bridge that surges with urgency and release. The refrain circles like a late night thought you cannot shake, grounding the song in a feeling that feels immediate and lived in.
Written and recorded by Chris Evans, “Easier” stands at the emotional center of ‘Falling From Down’, capturing frustration, resilience, and hard won clarity. The song hits with bright distortion, driving rhythms, and a melodic pull that sticks long after the final chord. It sounds alive, wired, and direct, a track that leans into tension and comes back stronger, pointing toward an album shaped by raw rock intensity and sharply focused storytelling.
Joyce Manor returns to the forefront of the rock landscape with the announcement of their upcoming album ‘I Used To Go To This Bar’ on Epitaph Records. This new collection features production from SoCal punk royalty Brett Gurewitz and showcases the band operating at the absolute peak of their creative powers. The lead single “Well, Whatever It Was” arrives with a high energy music video directed by Lance Bangs that parodies iconic British television. This track captures a quintessential Southern California sound through soaring choruses and a massive rhythmic foundation. Every instrument on the recording hits with a precise and punchy delivery that demands a loud volume.
The collaboration with Gurewitz brings a legitimizing force to the short and sweet songcraft that defines the Joyce Manor legacy. Legendary contributors like Joey Waronker and Lenny Castro add sophisticated layers of percussion to these fast-moving compositions. The engineering work from Tom Lord-Alge ensures that every hook lands with maximum impact across the entire tracklist. These songs bridge the gap between power-pop acumen and the raw intensity of the punk scene. The record vibrates with a sense of renewed vitality and confidence from the Torrance trio.
The songwriting on this album is a masterclass in efficiency and melodic brilliance. Listeners encounter a relentless barrage of infectious riffs and emotionally resonant lyrics that stay in the head for days. The band successfully incorporates a massive wall of sound while keeping the arrangements lean and urgent. Each transition feels like a rush of adrenaline as the group explores new sonic territory without losing their signature bite. This music is a triumphant celebration of California pop-punk heritage that moves the genre forward into 2026.
The track listing for ‘I Used To Go To This Bar’ consists of:
I Know Where Mark Chen Lives
Falling Into It
All My Friends Are So Depressed
Well, Whatever It Was
I Used To Go To This Bar
After All You Put Me Through
The Opossum
Well, Don’t It Seem Like You’ve Been Here Before?
Grey Guitar
The band is currently preparing for their “2026 Headline Tour” in support of the release following a run of dates in Europe and the UK. Fans can catch the live show at these upcoming locations:
Hannah Frances creates a massive sonic world with her latest album ‘Nested in Tangles’ on Fire Talk Records. This collection blends progressive rock and avant-folk into a tapestry of complex polyrhythmic guitar work and soaring vocal leaps. The arrival of “The Space Between” marks a significant peak for the record as it features multi-instrumental contributions from Daniel Rossen of Grizzly Bear. Rossen adds layers of cello, piano, and percussion that swell alongside the poetic lyrics of Frances. The compositions feel like a grand physical release where every note serves the pursuit of personal truth.
The music video for “The Space Between” brings a surrealist vision to life through a collaboration with Vanessa Castro and choreographer Emma Engel. This visual piece utilizes animal masks and modern ballet to mirror the internal dialogue found within the songwriting. The dancers move through dreamlike sequences that bridge the gap between childhood play and the discipline of adulthood. These images perfectly complement the sprawling orchestral arrangements that define the track. Watching the movement unfold provides a visceral connection to the themes of the song.
The technical proficiency on display throughout ‘Nested in Tangles’ reaches a breathtaking level of mastery. Frances uses open guitar tunings to craft intricate patterns that shimmer with a restless and bright energy. Her voice cuts through the thick arrangements of strings with a sharpness that feels both brave and refreshing. The transition from the delicate fingerpicking to the maximalist climaxes is absolutely thrilling to witness. Each song functions as a building block for an expansive and triumphant musical statement.
Hamilton punk rock lifers The Penske File are back with ‘Reprieve,’ a sharp and emotionally charged full-length that captures the band’s chemistry, shared history, and renewed creative drive. Built around themes of aging, transition, and endurance, the record channels the urgency of their live shows while leaning into melody, space, and reflection. Lead single “Almost Young” anchors the album as a defining moment, pairing personal lyricism with the kind of melodic punch that has long powered the trio’s sound.
Recorded live off the floor at Halo Studios before finishing touches at Shrimp Studios with longtime collaborator Adam Michael, ‘Reprieve’ moves fluidly between fast, cathartic punk bursts and more expansive rock passages. The album documents a band deeply locked in, shaping songs through collaboration and restraint, with “Almost Young” standing out for its layered harmonies, ringing guitar lines, and emotional clarity. There is genuine lift in how these songs carry weight without heaviness, translating lived experience into momentum, motion, and release.
MCA Records and Vince Gill extend one of country music’s most enduring creative partnerships with a lifetime recording agreement that reflects decades of shared history. The announcement arrives as a statement of trust, longevity, and artistic momentum, rooted in a relationship that continues to move forward with purpose and care.
As part of the agreement, Gill is rolling out a yearlong EP series titled ‘50 Years From Home,’ delivering new music every month. Each release blends fresh material with carefully chosen catalog recordings that deepen the emotional throughline of the project. The approach mirrors the way fans have experienced his work for years, personal, thoughtful, and shaped by the songs themselves.
The first installment, ‘50 Years From Home: I Gave You Everything I Had,’ is out now and includes the 2x Platinum classic “Go Rest High on That Mountain.” Placed within this new context, the song carries its familiar weight while opening space around it, letting longtime listeners hear it alongside new reflections and melodies.
Leadership at MCA Records points to creative freedom as the heart of the deal. President and CEO Mike Harris describes the agreement as a continuation of a bond built on mutual respect and belief in Gill’s vision. The numbers underscore that legacy, with billions of streams, tens of millions in certified units, and a catalog that continues to circulate through homes, cars, and concert halls.
There is an unmistakable lift in hearing this body of work unfold piece by piece, songs arriving like handwritten letters rather than bulk mail. It is the sound of a songwriter still reaching for honesty, guided by instinct, experience, and joy.
