Life is Not a Lesson is Glitterer’s second full-length album, featuring Ned Russin, bassist/vocalist of seminal hardcore-punk band Title Fight. This time Ned has produced the record himself, notwithstanding some recording and performance help from his twin brother, Ben, and some other friends, as well as mixing and mastering by Arthur Rizk (Code Orange, Power Trip). It may surprise you to hear that, irrespective of worldly doom and gloom, the new songs are even catchier and bigger-sounding than those from his 2019 release, Looking Through the Shades. With roomier drums and more electric-guitars-per-square-inch than ever, Life is Not a Lesson has a way of evoking an alternate-universe version of Guided By Voices, one with a hardcore-punk background. Life is Not a Lesson proves to be a rigorous reckoning with the life of the mind at a time when there’s not much life outside the mind.

Named for the city that launched the original Alice Cooper group on the road to success, “Detroit Stories” follows last year’s “Breadcrumbs” EP as a modern-day homage to the toughest and craziest Rock n Roll scene there ever was.

In 1970, fledgling producer Bob Ezrin walked into a farmhouse on the outskirts of Detroit to work with the Alice Cooper band. Abandoning flower power Los Angeles, because they were the opposite of the hippie peace and love ideal, Alice had brought his decidedly darker gang back to his birthplace to the legendary rock scene that gave birth to hard rock, garage rock, soul, funk, punk...and more.

Ezrin drilled the band for 10 hours a day to define their signature sound.  Whenever they nailed a song, the inmates at the hospital for the criminally insane across the road cheered and thus the classic Alice Cooper sound was born.

“Los Angeles had its sound with The Doors, Love and Buffalo Springfield,” says Alice Cooper, “San Francisco had the Grateful Dead and Jefferson Airplane. New York had The Rascals and The Velvet Underground. But Detroit was the birthplace of angry hard rock. After not fitting in anywhere in the US (musically or image wise) Detroit was the only place that recognized the Alice Cooper guitar driven, hard rock sound and our crazy stage show. Detroit was a haven for the outcasts. And when they found out I was born in East Detroit... we were home.”

50 years later Alice and Ezrin gathered some legendary Detroit musicians in a Detroit studio to record Detroit Stories, Alice Cooper’s new album that celebrates that spirit for a new era.  If 2019’s “Breadcrumbs” EP laid down the trail to the city, Detroit Stories drives like a muscle car right down Woodward Ave.

Discover Detroit Stories as they were meant to be told.

The self-titled, full-length debut from Bones Owens is a selection of songs both gloriously gritty and undeniably euphoric. In a bold departure from the moody Americana of his acclaimed EPs Hurt No One and Make Me No King, the Missouri-bred musician’s first release with Thirty Tigers delivers a powerful sound deeply inspired by ’60s garage-rock, Hill Country blues, and the swampy roots-rock of bands like Creedence Clearwater Revival (“the first record I remember stealing from my dad when I was ten and just starting to play guitar,” according to Owens). A potent showcase for his formidable guitar work—a talent he’s displayed in performing with artists as eclectic as Yelawolf and Mikky Ekko—Bones Owens arrives as a full-tilt expression of Owens’ wildest impulses, all swinging rhythms, and swaggering riffs.

The soundtrack is a perfect complement to the film available on 3 CDs for the Zappa completist. Showcasing 69 total songs, with 12 previously unreleased recordings from archive along with the 1978 Saturday Night Live performance; 24 additional Zappa songs from the catalog spanning 4 decades; songs from Zappa's labels Straight / Bizarre Records; 2 classical compositions by Edgard Varese and Igor Stravinsky; and 26 Original Score cues newly composed by John Frizzell for the documentary.

One of Australia's greatest self-made successes, Tash Sultana is a one-person powerhouse who commands multiple instruments and gear, whether on-sage or in-studio. A globe-trotting sensation with a live show that needs to be seen to be believed, the 25-year-old's second album Terra Firma is a natural evolution of their multi-dimensional jams. The follow-up to 2016's ARIA-winning Flow State was recorded in a custom-built studio over nearly a year. From the expansive 'Coma' to the evocative 'Greed', almost every note was composed, arranged, performed and engineered by Tash. Improving significantly as a singer, player, producer and arranger, the solo star - for the first time - opened up to like-minded collaborators, including Matt Corby and Dann Hume, Jerome Farah, and Josh Cashman. Spiritually, Terra Firma finds the artist reconnecting to their roots, returning to earth after the dizzying heights of success, and reminding themselves who they are and what it means to be human. Musically however, its 14 tracks take root into far-reaching sonic territory, departing from loops and layers towards meditative combinations of soul, funk, RnB, folk, rock, hip hop ' you name it. 

Since forming in 2007, Icon For Hire (composed of singer Ariel Bloomer and guitarist Shawn Jump) have quietly amassed a legion of followers. Currently sitting at over half a million monthly listeners on Spotify, Icon For Hire are the sleeping giants of the modern rock scene, and are now ready to step into the forefront with new album ‘Amorphous’.

Icon For Hire’s sound is one that effortlessly blends heavy riffs, elements of electronic production and soaring vocal lines into a powerful & bold sonic explosion.However, at the heart of Icon For Hire’s music is a message of positivity, self-love and personal empowerment from the painfully relatable and rousing lyrics of Ariel.

For Amorphous, the band worked with Grammy Nominated engineer Romesh Dodangoda (known for his previous work producing the last Bring Me The Horizon album as well as acts such as Don Broco, Busted, and Kids in Glass Houses).

The album has been completely funded by fans through Kickstarter. This success was achieved thanks to the band’s highly dedicated ICON Army fanbase that support them on Patreon and have been there for the band though thick, thin, litigation, addiction and more.

Having overcome both personal and professional adversity, Icon For Hire are living proof that you can take control of your life—and that’s perhaps the greatest success anyone can hope to accomplish.

Double gold and black colored vinyl LP pressing in gatefold jacket. Loathe have been making waves in the British underground heavy music scene since their inception in 2014. Debut full-length The Cold Sun was a heady hybrid of meaty down-tuned riffs, lacerating screams and pile-driving rhythms. I Let It In and It Took Everything retains those elements, albeit delivered with a searing potency and sharpened focus that bests it's predecessor in almost every conceivable way. Rather than existing within one style or taking one approach, Loathe pepper their music with a range of influences and musical motifs that move fluidly and give the Liverpool quintet a dynamism that was merely hinted at before. Their palette has widened significantly and surprises are plentiful; shimmering guitars, layered synths, unhinged guitar effects, a stronger emphasis on ethereal clean vocals and even elements that echo the sheer sonic brutality that epitomizes black metal.

Intent behind the album was to demonstrate that there wasn't much difference between country and soul, either in terms of songwriting or performance. In order to prove this theory, the producers came up with a series of 10 duets featuring one country musician and one R&B musician, and had the duos sing classic songs. So, Rhythm Country & Blues is filled with duets like Conway Twitty and Sam Moore's "Rainy Night In Georgia," Clint Black and the Pointer Sisters' "Chain of Fools," Aaron Neville and Trisha Yearwood's "I Fall to Pieces," and George Jones and B.B. King's "Patches."

Los Angeles, CA’s Weezer will release their fourteenth studio album, entitled OK Human, on Friday, January 29th on Crush Music/Atlantic.  The album’s first single, “All My Favorite Songs,” can be heard now. 

The world may seem like a pretty strange place right now, but if nothing else that’s forced us into realizing that being human is a shared experience. That sentiment lies at the core of Earth Is A Black Hole, the second full-length from the Los Angeles rock act Teenage Wrist.

The album also marks the group’s first release as a duo, with guitarist Marshall Gallagher stepping up as frontman, and longtime drummer Anthony Salazar backing him up in spectacular fashion. Gallagher explains. “I wanted to keep this band going and we didn’t know exactly what that would look like, so I wrote two songs and demoed them myself to see if everyone was still on board.” Those songs turned out to be the jangly power ballad “Yellowbelly” and spacey rocker “Wear U Down”—and with that, a new era of Teenage Wrist was born.

The artistic liberation of this lineup change, coupled with the past two years the band spent touring alongside genre-smashing acts such as Thrice, allowed Teenage Wrist to expand on the shoegazing sound that helped establish them as one of the most exciting rock bands around today. From lush, guitar-driven songs like “High Again” to the atmospheric ambience of “Stella” and syncopated aggression of “Earth Is A Black Hole,“—most evidently on the swirling anthem “Silverspoon,“— Earth Is A Black Hole sees the band shifting their songwriting focus to a more modern sound that showcases the limitless potential of the band.

The Pretty Reckless’ new album Death By Rock And Roll is their most ambitious release yet. It was written through the heartbreaking losses of Chris Cornell, who was one of frontwoman Taylor Momsen’s musical muses, and longtime collaborator Kato Khandwala. The titular single became their fifth #1 at Active Rock Radio, a first for a female-fronted group. Features “25”, “And So It Went” w/ Tom Morello, & “Only Love Can Save Me Now” w/ Matt Cameron & Kim Thayil.

Double LP features a special etching on Side D.