"Primed to become your next favorite band." -- Metal Sucks
"An absolute joy to listen to and perhaps one of the most inventive albums to be released this year." -- Outlaws of the Sun
"Think the early days of Red Fang, when every chord and note was dripping with urgency, but with, one hand, a dash of progginess thrown in and, on the other, a dollop of sludgy sweetness that makes one think of Torche." -- Heavy Blog is Heavy
“Auralayer blend doom and guitar-forward pop sensibilities, capturing the decade from ’95 to 2005 when a generation of sing-along sludge blossomed from grunge’s demise.” — Decibel Magazine
"Builds momentum quickly and doesn't look back... An amalgam of modern heavy." -- The Obelisk
Auralayer, the heavy melodic trio out of Greenville, SC, share their new single from their forthcoming sophomore album today via The Obelisk HERE. The song "Wall to Wall" is now available to hear and share on all DSPs HERE.
Far too many heavy rock and doom bands overlook that the classic progenitors of the genre were firmly rooted in strong melodic hooks, not just skull thwacking riffs. Greenville, SC trio Auralayer bring pop melodies to the forefront of their sound, ensuring that the heaviness hits with exceptional impact.
Into the Aura Lair, the anticipated followup to Auralayer’s 2023 debut full length, Thousand Petals (King Volume Records) is heavy, fun and unpredictable. Think YOB, Torche and The Sword blended with 90s alt rock akin to Hum: Huge riffs pummeling through huge amplifiers, precise cannon like drums, and melodies that stick with you.
Guitarist Thomas Powell zeroes in on slamming High on Fire riffs counterbalanced with Hendrix psychedelic flourish and open-tuned alt-rock shimmer. Bassist/vocalist Jake Williams lays down sludgy, growling lows while his soaring, clean vocals hit powerful highs. The album is the first to feature new drummer Harold Smith, who brings a harder hitting style to their sound than heard previously.
To help them harness their energetic musical vision, the band once again recruited Philip Cope, the founder of the experimental metal band Kylesa, who also engineered, mixed, and mastered their debut album at Jam Room Recording Studio in Columbia, SC. As with Kylesa, Cope helped to capture and channel the band’s diverse influences and experimentation into a cohesive sonic palette.
Into the Aura Lair will be available digitally on December 4th, 2026. Pre-orders are available HERE.
Nashville musician Beth Cameron shares her solo debut full length LP, The World. Oh No. today. The album is available to hear and share on all DSPs HERE.
“This album is my nervous system on display,” says Beth Cameron of her first solo release, THE WORLD, OH NO. Raised on Riot Grrrl and post-punk, the Tennessee native fronted Forget Cassettes and Black Bra. Now, Cameron has unmasked under her own name. The result is a tour de force which viscerally portrays chronic illness on songs for piano, edgy Lyra synthesizer, guitar, and varying vocal techniques. Cameron’s gift for formal experimentation and lyric fearlessness means the songs somatically channel her HyperPOTS condition rather than merely describe it. Through skillful balance of melody and dissonance, her music channels contemporary artists like Emma Ruth Rundle and Chelsea Wolfe.
“My life revolved around music before I got sick. Now, my life revolves around my health,” Cameron says about the havoc wreaked by HyperPOTS , a nervous system disorder with no cure. In HyperPOTS , the body produces excess amounts of the stress hormone norepinephrine, keeping patients in constant cycles of panic, pain, autonomic dysregulation, and a constant uncertainty about how to function.
Cameron cites the “unpredictable nature of it; the peaks and troughs; always one foot in the world and one foot out” as one of the worst parts of the illness. While the record is a sonic manifestation of illness, Cameron doesn’t rest on the merely confessional. “I didn’t want to just write about my experiences, but I wanted to fully embody them through sonic choices.”
“I took my first songwriting workshop in the spring of 2025 with an artist I deeply admire, Nandi Rose, aka Half Waif. I had been slowly working on new songs for a couple of years, but I was really stuck. This workshop really opened up something in me.” Shoring up her lyricism with the poetry of William Bronk, Andrea Gibson, and Rainer Maria Rilke, Cameron found musical voice with a Baldwin Acrosonic piano, a Lyra 8 synthesizer, and heavy listening to binaural beats through the Moongate app.
It’s equal parts confrontation and a determination to take her life back, packed into a song structure reminiscent of experimental artists like Alexis O’Hara. Throughout the album, she employs the Lyra synthesizer, which gives the album an unrelenting feeling of anxiety it needed - that constant low pulse of uncertainty that accompanies someone living in an unpredictable body.
The album takes its title from a line in William Bronk’s poem “The World:” “There isn’t an anchor in the drift of the world. Oh no.” Perfectly encapsulating the constant tumult of sickness, listeners know they’re in for a visceral unpredictability, which ultimately offers empathy and witnessing to chronic illness patients.
“I consider ‘Something in the Offing,’ ‘Sympathetic Symphony,’ and ‘I’m Resting’ to be the emotional arc and connective tissue of the album. I wrote those songs as a triptych about what it feels like to have a POTS episode.” From the slowly swinging piano of “Something in the Offing” to the maniacal laughter that ends “Sympathetic Symphony,” these songs viscerally represent the grief, panic, and uncertainty of a sickness that may never go away. “Something in the Offing” repeats the storm-tossed imagery of the album title, “I’m cresting with the waves / A dance I know so well / So terrified of it still.”
“The album ends where it begins because of the cyclical nature of illness and grief,” a lament familiar to those with incurable illness. Nervous system conditions often correlate with past trauma, something Cameron had to confront. “Therapy allowed me the agency to finally choose anger over shame regarding bad men who had long exerted their power over me. ‘Lemonsqueezer’ and ‘RIP, OP’ are about the abuse I endured from my ex-romantic/musical partner, and with whom many other women continue to suffer. ‘Lemonsqueezer’ is also about the recent estrangement from my father after a lifetime of emotional abuse.” It’s a brave song, featuring spoken word verses, layered backing vocals, and determined percussion. “I’m the comeback lady,” Cameron declares, leading into a chorus of “My hate for you is my muse / You abuse, you abuse, you abuse.”
On “HeLa,” Cameron looks back at the medical trauma of her premature birth. “I was born half dead / To a mother who / Was living half dead, half wed,” she sings. The title is a reference to Henrietta Lacks, a Black woman whose cancer cells have been used nonconsensually in medical research.
Considering Lacks as an immortal presence while simultaneously being “another woman dismissed,” Cameron considers her own place in history. The music quickens like a pulse and what sounds like rage becomes resolve. “I’m not sitting in the waiting room no more,” the song ends.
“I could never shake this feeling that I wasn’t supposed to be here.” That theme bleeds over into “Motherland.” “Even though my mother left us to preserve her own survival, that neglect has consequences that still persist.” The slow piano, foggy synth sweeps, and singsong melody give an eerily tranquil ambience to the song’s themes. “Motherland, Motherwound / Mother see, Mother do / Motherfucker, what did I lose? / Motherland, Motherwound,” goes the chorus like a litany of grief. With a trembling vocal intimacy reminiscent of Beth Gibbons, Cameron enumerates what it means to be haunted by the one who gave her life.
Like the sympathetic nervous system, THE WORLD. OH NO. reaches the heart, the mind, the spine. Cameron refuses to add the veneer of hope, a detail that both comforts and educates listeners. Formally experimental while remaining accessible, the fourteen tracks embody the ceaseless and unpredictable suffering of chronic illness.
The World. Oh No. will be available on streaming/download on September 11th, 2026. A special Limited Edition hardbound book and CD package follows in Fall 2026. The album is available to pre-order on digital via Bandcamp.
Artist: Beth Cameron
Album: The World. Oh No.
Label: Submissive Grin
Release Date: September 11, 2026 (digital) / Fall 2026 (CD/book)
Nashville musician Beth Cameron announces her forthcoming solo debut full length LP, The World. Oh No. today. The lead single "HeLa" launched earlier via New Noise Magazine HERE. The song is now also available to hear and share on all DSPs HERE.
Cameron explains the song's significance:
"I have really struggled with writing about the concept behind THE WORLD. OH NO. It’s an entity with so many “worlds” I want to discuss, yet deep down I am terrified. Terrified you won’t understand what I’m singing about. Terrified you will understand exactly what I’m singing about, because it happened to you too. I’d like to say that writing this record was cathartic, but it actually felt more like a possession, so maybe releasing it into the world (OH NO!) is my exorcism.
"HeLa exists in one of those worlds, specifically medical and generational trauma. "HeLa" is about Henrietta Lacks, whose cells were harvested from her cervical tumor without her or her family’s knowledge or consent. Her cells were the first to survive outside the human body, creating the first immortal cell line, called HeLa cells. Because of HeLa cells, we have the polio, HPV, and COVID vaccines, among countless cancer and biomedical breakthroughs."
The best performers attract and terrify us simultaneously. In the last quarter century of Nashville’s neglected independent music scene, no artist has been so magnetic and disquieting as Beth Cameron, whose feverish songs have been performed and recorded under the names Fair Verona, Forget Cassettes, Eliza the Arrow, and Black Bra.
Cameron’s live shows range from elaborate ensemble pieces for full band and women’s choir to solo performances for electric guitar and voice. This is where the terror and attraction come in. The first thing one notices at a Beth Cameron show is that our heroine—holding an SG beside a gigantic Music Man amplifier—is 5’4”, a hundred pounds soaking wet, and strikingly pretty. She dresses like the girl you were afraid to talk to in your creative writing class. If you’re lucky
enough to have received no warning, you will be impaled by the sheer volume of Cameron’s aggressive, virtuosic playing and her deep alto, which vacillates between the raw vibrato of Son House and the despair of someone chained up in a dungeon. She is as mesmerizing and volatile as a weeping dragon—a weeping dragon who fucks.
Since her debut—as a teenage frontwoman in the American South—Cameron’s brusque inquisitions of violence, betrayal, and sex have energized a young Nashvilliana disengaged from their city’s vapid glitz. Her live shows have taken her across Europe and North America, and her recorded output has drawn praise from SPIN, NME, Missbehave, CMJ, Drowned In Sound, and NPR.
Forget Cassettes’s 2006 album, Salt, produced by Jeremy Ferguson (Cage the Elephant, Lambchop), is widely considered the pinnacle artistic achievement of the Nashville indie rock scene of that era. Follow-up album O CURSA was so challenging and long in gestation that the group was dropped from their international label.
In 2016, Cameron married celebrated photographer and polymath Miles Price. Their first collaboration, Black Bra’s eponymous 2020 release, won the Nashville Scene’s best rock album of the year. Cameron’s new album, The World. Oh No. released under her own name, was recorded and mixed by Roger Moutenot (Yo La Tengo, Sleater-Kinney, Lou Reed). By far the most elaborate production with the largest supporting cast of her career, The World. Oh No. is
Cameron’s most personal work and the most resplendent. Expect shows as beautiful and unsettling as anything we’ve seen.
The World. Oh No. will be available on streaming/download on September 11th, 2026. A special Limited Edition hardbound book and LP package follows in November. The album is available to pre-order on digital via Bandcamp.
Artist: Beth Cameron
Album: The World. Oh No.
Label: Submissive Grin
Release Date: September 11, 2026 (digital) / TBA (LP/book)
"Here, Lustig turns toward something closer to psychedelic pop and alternative rock, although his instinct for unusual arrangements hasn’t gone anywhere." -- It's Psychedelic Baby! Magazine
"Underground art-rock channeling Ron Mael (Sparks)." -- Echoes & Dust
NYC musician Raymond J. Lustig announces his forthcoming new album Welcome today, sharing the lead single "That's The Moment". The song is available to hear and share on Bandcamp and all DSPs HERE.
Ray Lustig is 1/2 of NYC songwriting duo Manicburg and an award winning professor in composition at Julliard. Yes, THEE Julliard, school of performing arts. But this isn’t stuffy Classical music nor icy neo-Classical navel-gazing. Ray’s music shares more with psychedelic post-punk, Manu Chao, Tom Waits, Radiohead and other hard to categorize works of intricate composition.
Welcome is his latest solo album exploring realms of alternative/indie rock coming hot on the heels of his choral opera Semmelweiss. The first single “That’s The Moment” is a hooky, electronic-infused psychedelic pop tune.
Lustig's work transcends and integrates many genres, as composer, performer, producer, and bandleader. From symphonic works to experimental opera, instrumental music, to alternative rock and electronic music, his music maintains an artistic and sonic signature across strikingly different forces, an emotional intensity not about loudness but often quiet and constant.
While his early career was set in the world of Juilliard and Carnegie Hall, he has moved steadily “downtown” and around the world, working with international musicians ranging from underground rockers to modular synthesists, jazzers, traditional folk instrumentalists, and classical virtuosi.
With New York-based Italian artist Luigi Porto he started the band Manicburg, which released its debut album in 2024, and continues to tour and record.
His choral opera SEMMELWEIS was staged in a 2018 production by Hungarian director Martin Boross. In 2026 Lustig and co-producer Maximilien Hein reimagined the music of the opera as a concept album taking the form of a song cycle. It met with global critical acclaim.
His latest album, WELCOME, due out in the autumn of 2026, takes his solo music again in the direction of alternative rock, with a lush electronic and compositional palette, exploring different angles of anxiety and fear in a menacing world, a serial tale of psychedelic peril.
Lustig has collaborated with American Composers Orchestra, Grand Rapids Symphony, Metropolis Ensemble, Budapest Operetta Theater, the Bartok Plusz Opera Festival, the American Opera Project, cellist Joshua Roman, tenor Nicholas Phan, pianist Blair McMillen, classical guitar ensemble Duo Noire, director Martin Boross, aanimator John W. Lustig, and more. He has taught composition and analysis at The Juilliard School and served on the Pulitzer Prize selection committee.
Ray’s work has been honored with the Charles Ives Fellowship from the American Academy of Arts and Letters, ASCAP’s Rudolf Nassim Prize for his orchestral work UNSTUCK, the Aaron Copland Award from Copland House, the Juilliard Orchestra competition, the New Juilliard Ensemble competition.
Lustig is part of a growing scene of artists and musicians based in the far-northern neighborhoods of Manhattan, and hosts monthly music parties in his studio there.
Welcome will be available on LP and digital on November 20th, 2026 via Respirano Records.
“Unlike other festivals that set up shop in a hot, scenic locale to showcase performers from other places around the world, The Mojave Experience has a more authentic vibe.” — Los Angeles Times
The Mojave Experience festival today announces the second annual staging of the event, taking place March 19th-21st, 2027 in Joshua Tree, California. The festival has expanded to 3 days for its second year due to popular demand. Bands announce thus far include Corrosion of Conformity, Fu Manchu, Red Fang, Brant Bjork, Nebula and many more. The full lineup will be revealed soon. Tickets are on sale now for Early Bird and special bundles. Tickets are available HERE.
The festival is the brainchild of organizer and High Desert nativePatrick Brink, frontman of VOLUME and former lead singer of desert rock legends Fu Manchu.
The Desert music & culture festival carries on the free-spirited tradition of Desolation Center, High Desert generator parties and the early days of Coachella. The Mojave isn’t just a backdrop. It’s part of the reason this festival exists.
Bands announced so far include:
Corrosion of Conformity
Fu Manchu
Red Fang
Brant Bjork
earthlings?
Mondo Generator
Nebula
Deathchant
Fatso Jetson
Unida
Yawning Balch
Big Scenic Nowhere
Sasquatch
Heavy Temple
High Desert Queen
Sons of Arrakis
20 Watt Tombstone
Magick Potion
Black Moon Cult
The Mojave Experience takes place in Joshua Tree, California at the Joshua Tree Lake & Campground. Attendees are encouraged to make use of the camping, hiking and rock climbing in the area while taking in the vast beauty and mystery of the region that birthed the Desert Rock movement.
There’s a long history of people coming out here to make music on their own terms, from Desolation Center and generator parties to infamous sessions at Rancho de La Luna and the early days of desert festivals. The Mojave Experience comes from that same independent spirit.
The Mojave isn’t just a backdrop — it’s the raw, unfiltered stage where music, art, and chaos collide. Out here, under open sky and desert sun, things feel different. There’s distance from the city, from the usual venues and from everything that normally surrounds a show. You come out here because you want to be here.
The Mojave Experience grew naturally out of that. It wasn’t created to recreate something from the past. It came from the music and culture that have existed in this desert for decades, while giving the next generation of bands and fans a place in it.
Year one proved that people will travel a long way for that experience. They came from across the country and beyond to spend a weekend in the Mojave, surrounded by people who came for the same reason. Desert legends, road-worn bands and new blood sharing the same stage for a few days in the place that inspired it.
No city park. No corporate festival setting.
Just the bands, the people and the Mojave.
Come ready. Come raw.
The Mojave Experience isn’t here to entertain you — it’s here to change you.
THE MOJAVE EXPERIENCE 2027:
03/19/2027 - 03/21/2027 Joshua Tree, CA - Joshua Tree Lake & Campground
“Pamphlets tear into insatiable greed and the moral rot of power on “Against the Forces of Nature,” a blistering, serrated-guitar eruption whose feverish urgency and impassioned performance introduce their debut album ‘Somewhere in Zacatecas’ with thrilling force.” — Atwood Magazine
“Sharp observational lyrics on top of shark angular guitars, and a fun but pointed punk sound that still is every bit as arty as it is fierce.” — We All Want Someone To Shout For
Philadelphia/NYC band Pamphletsshare the lead single today from their forthcoming album Somewhere In Zacatecas. The song, "Against The Forces of Nature" premiered exclusively yesterday alongside an in-depth interview via Atwood Magazine HERE. The single is now available on all DSPs HERE.
Singer/guitarist Jeremy Marquez (Brooklyn) and bassist Ben Griffin (Philadelphia) formed the project after connecting through a network of friends. The duo bonded over a shared admiration for contemporaries such as Preoccupations, Ought, and Protomartyr and classic groups like The Fall, Joy Division, and Bloc Party.
They honed a driving, high-energy punk sound and became notable for their infectious live performances. Their latest EP “Cause// Effect” ushered in a new phase for the band leaning towards a heavier sound and sentimental lyricism. With songs that attempt to speak about the chaos, uncertainty, and anxiety of our current moment, Pamphlets position themselves as an unabashedly political call to action.
Somewhere In Zacatecas will be available on CD and digital on January 29th, 2027 via Lost Future Records. Orders are available HERE.
“The Living Pins filter 60s psychedelic grooves through the more straightforward sensibilities of 90s alt-rock,
a combination that's both accessible and impossibly cool. Hearing Clark and Peltz harmonize over the garage-rock strut of opener ‘Raven,’ or the sweet pop-rock hooks of ‘Jaguar,’ you can see why Kim Deal of The Breeders counts herself as a fan.” — The Onion AV Club
"Channels classic pop rock sounds, brimming with assuredness and melodic hooks." -- Austin Town Hall
“Colorful, left-of-center rock and roll steeped Austin’s long psychedelic tradition… The Living Pins treat rock history like a box of strange ingredients, pulling familiar sounds apart and rearranging them into something playful, melodic, and wonderfully peculiar.” -- Glide Magazine
"A lively union of post-grunge guitar psychedelia and Stonesy chug, as if the nation's Nineties soundtrack evolved out of seminal garage rock comp Nuggets instead of the Velvet Underground." -- Austin Chronicle
Austin, TX band The Living Pinsshare the first single, and title track, from their forthcoming debut full length Roxy Unicorn today on all streaming services. "Roxy Unicorn" launched yesterday via Glide Magazine HERE. The song is now available to hear and share on all DSPs HERE.
Simon Le Bon of Duran Duran says this about The Living Pins: ”One of the things I can really recognize when I hear a bit of music -- is the FUN. The fun that they were having when they made that. And they were having such a great time making that music. In fact, if you do check out Living Pins, you will hear that in all of their music. They don’t have a lot of it out there, but they are having such a laugh when they’re doing this stuff, and I think it’s wonderful.”
Ever since Pam Peltz and Carrie Clark worked together slinging produce and cashiering at Wheatsville Food Co-op in the mid-90s, they’ve been drawing their own pirate map of the rock world as The Living Pins.
Releasing super well-received EPs and singles up til now, Roxy Unicorn is their first full-length album. A lush sonic landscape of Austin psychedelia pulled into focus with some 70s-FM-radio-era shimmer and polish. They’ve always had their eye on that candy window into the mystery tour.
Carrie Clark is a known Austin Music Hall of Famer as the frontwoman for 90s shoegaze favorites Sixteen Deluxe (Trance Syndicate, Warner Bros). Pam Peltz was the frontwoman for 90s Austin alt-rock trio Ursa Major and produced some beloved early Daniel Johnston tracks on Continued Stories. Sixteen Deluxe guitarist/singer Chris “Frenchie” Smith of the legendary Bubble Studios produced Roxy Unicorn.
“Roxy Unicorn”, the first single, is a baroque frolic inside an imaginary CBGB pop-up at Versailles, so they say. It has a tasty weird intro and then a galloping heartbeat to the end. “Secondary radiant joy” is a new favorite phrase for the summer.
Austin vinyl-based label Flak Records (“Because music should be physical”) will be doing a limited vinyl release when the full album Roxy Unicorn is officially out.
In 2023, Carrie made a special appearance at the A Curious Mix of People(University of Texas Press) book launch at the Central Austin Library and talked with its authors about the well-documented weirdness of the 90s Austin music scene and being frontwoman for Sixteen Deluxe. Here’s an excerpt:
Richard Whymark: “Didn’t you say you almost became Gwen Stefani?”
Carrie Clark: “Oh my God, yeah. At the time when Sixteen Deluxe was getting courted by every label in the book. Cuz it’s like ‘Oh, who’s the next Nirvana?’ or the next whatever. And yeah, I think one of those offers was ‘Hey, we’ll sign you guys but we get to decide what Carrie wears and we get to decide what her hair looks like and we get to decide all of these things about image… We said ‘No’”.
Roxy Unicorn will be available on LP and download/streaming on November 13th, 2026.
THE LIVING PINS LIVE:
09/18 Austin, TX - Continental Club
10/10 Austin, TX - Aristocrat Lounge
11/12 Austin, TX - Waterloo Records - pre-album release in-store
Phoenix, AZ band Deathdotgovshare two new tracks today from the forthcoming deluxe reissue of their debut album deathdotcom. The studio version of "Galleria" from the album and the new live version of "Galleria (Live at The Rebel Lounge)" both launched earlier via Echoes & Dust HERE. The tracks are now also available on all DSPs HERE.
Deathdotgov recently released a clever open source music video for their single "Magic Guns" from the album. The video was shot using green screen, so that fans can download the file and add whatever visuals to the video and share online. The band will share all fan created videos on their own channels. "Magic Guns" premiered via New Noise Magazine HERE. Watch/share/download "Magic Guns" video on YouTube HERE.
The video source files are available for direct download HERE.
From deep within the desert emerges Deathdotgov, a multi-hyphenate, genre-renouncing group of musicians from Phoenix, AZ. The quartet consists of Coba Westerman (vox), John Bacino (guitar), Dylan Ewing (guitar) and Meghan Herring (drums).
Each member’s extensive experience with previous projects lends an element of chaos that -- in the band’s own words -- was always the goal. Since their blistering first show in early 2023, deathdotgov has gone on to commit musical war crimes across the land.
Combining elements of math rock in its least traditional form and inspired by post punk and the weirdest, heaviest of breakdowns, the band’s first single “The Observer” puts every member’s talent in the spotlight while also proving that they’re never going to be predictable with their sound. They released their debut album deathdotcom in 2025 and have no plans on slowing down any time soon.
In 2026 the band signed with Lost Future Records for their next album, planned for 2027. The label will also reissue deathdotgov on CD and digital with 6 bonus live tracks in late 2026. Deathdotgov doesn’t need to acclimate - they’ve arrived fully-formed and with a clear vision for their future as a band.
deathdotcom will be available on CD and digital on December 11th, 2026 via Lost Future Records. Orders are available HERE.
Artist: Deathdotgov
Album: deathdotcom
Record Label: Lost Future Records
Release Date: December 11th, 2026
01. The National Anthem
02. Galleria
03. Observer
04. Noisedotgov
05. Magic Guns
06. Planet Express
07. Laces
08. Froth
09. Thorn Daughter
10. Tweak
11. Thy Daily Head
--
12. Laces (Redux)
13. The Observer (Live @ The Rebel Lounge (7-20-23)
"I guarantee you, it will be jammed firmly in your head for days on end." -- Metal Injection
“An instant earworm.” — Metal Sucks
“As ridiculously awesome as their big, dumb moniker would imply… churning out lumbering cascades of clobbering, trucker hat riffage that toe a slobbery line between Dinosaur Jr., Primus, Pantera and ZZ Top.” – Decibel Magazine
"Epically catchy...Imagine the ear-wormy fuzz-rock riffage of Dinosaur Jr. if it was played on an eight-string guitar with super heavy low-end." -- Revolver Magazine
Austin trio Rickshaw Billie's Burger Patrol announce their forthcoming fourth album today, titled Ca$h Grab with release of the title track single on all platforms. The album will be released on October 23rd, track listing and cover art follow below. Fans can now pre-order Ca$h Grab on LP/CD/MC HERE. Hear/share "Ca$h Grab" +3 singles on allDSPs HERE.
The band launches Fall 2026 tour dates supporting Death From Above 1979 starting on October 1st. Fans can get tickets HERE for all shows. Please see all dates below.
Premier Guitar Magazine recently featured the band on their beloved Rig Rundown video interview series. Watch/share the Rig Rundown video via YouTube HERE and Premier Guitar HERE.
Rickshaw Billie’s Burger Patrol further the sarcastic tone of their previous album’s title Big Dumb Riffs to double down with Ca$h Grab. The irony here — and perhaps the point — is that Ca$h Grab is the band’s most introspective and lyrically vulnerable songwriting to date.
Of course, the band still bludgeons with thunderous 8-string guitar, growling bass chords and pummeling drums throughout. But these songs are as bassist Aaron Metzdorf explains,“more pop song forward, while still in the idiom of heavy music.”
The album finds the trio — vocalist/guitarist Leo Lydon, drummer Sean St. Germain and bassist/vocalist Metzdorf — expanding their mastery of heavy, hook-filled riffs and rhythms couched in earworm melody that would make Green Album era Weezer jealous. Following the Spartan Primus-meets-Pantera rhythmic ruction in 2 minutes or less of Big Dumb Riffs, the band lets melodies lead the battlefront this time around. In so doing, the lyrics are more personal and revealing, juxtaposed with twisting notes that nod to influences from Built To Spill and Sugar style indie pop to early 90s-era Rush.
“The heavier parts are even heavier, but more fleshed out. And the heaviness is not just in a guitar riff, but heavy lyrics, heavy melody,” Metzdorf says. “Some of the heaviest parts of the whole album are Leo's vocals. While the poppier stuff has a more prominent role on this one.”
Ca$h Grab kicks off where the last album left off: The slow burn quiet/loud dynamic of “Freakshow”, seemingly the end result of the quasi-psychotic conceit of the previous disc’s “In a Jar,” both of which are sung by Metzdorf, who sings lead on 5 of the album’s 14 tracks. Vocalist/guitarist Leo Lydon really showcases the versatility in his singing, belting out high notes like never before on songs like “Fate Is”, “Peaches” and the title track. And while his vocals soar, Lydon’s 8-string guitar rumbles with menacing low end while intertwined with Metzdorf’s thick, heavily distorted bass chords. The band’s secret weapon, St. Germain pulls it all together with his innovative beat substitutions and explosive, syncopated hooks delivered with an effortless groove and fun loving smile.
In the two years since Big Dumb Riffs, the band toured relentlessly, both as a headliner and supporting The Sword, Death From Above 1979, Pigs x9, King Buffalo and more. Their meticulously curated annual Big Dumb Fest in Austin and headlining dates continue to sell out and the band’s ever growing rabid fanbase proves that RBBP’s iconic reign has just begun.
Ca$h Grab will be available on LP, CD, cassette and download/streaming on October 23rd, 2026.
"Grungy hardcore duo SWAMPFOOT are an all-caps, all-the-time kind of band." -- Decibel Magazine
Binghamton, NY duo SWAMPFOOT share the latest single and lyric video from their forthcoming self-titled debut full length LP. Hear and share "ONE WORLD" on all DSPs HERE. Watch/share the lyric video on YouTube HERE.
Decibel Magazine recently premiered the video for album track "AIM LOW"HERE. (YouTube HERE.)
SWAMPFOOT is a dynamic, two-piece hardcore punk band based out of New York State. The group was birthed in 2025 by Cliff Hodson (vocals/bass) and Jordan Greene (drums). They entered the studio in July of 2025 with the goal of creating a gigantic wall of aggression with just a single bass and a set of drums. Working with producer Kenny Eaton (Teen Mortgage) at Mystery Ton Studios, the mission was accomplished. Crushing guitar tones and thunderous bass were all sculpted and then captured in pure, analog beauty using just a single bass, signal splitters, stomp pedals, and some crazy boutique amps from the 1960's and 1970's. Combine all of that with real, live-tracked drums, and a bunch of singing and yelling through an expensive Telefunken U47, and you've got yourself one huge, pissed off sounding debut record.
Their first single "No Matter What" sounds like System of a Down having a fist fight with the Beastie Boys while Rick Astley films it on his iPhone. They followed it up with their second single "Master Plan" which pokes at the idea of a manufactured existence by society's elites built to keep everyone in check, all delivered through fast paced, old-school thrash riffs, blistering drums, contagious vocals, and the heaviest breakdown you'll ever hear from a two piece band wielding a mere bass and set of drums. Their live show is no joke and stays 100% authentic to what you hear on the record. Two dudes, one monstrous sack of noise.
SWAMPFOOT will be available on LP, CD and download on November 13, 2026.
Ca$h Grab 1st Pressing! Tide Pods Color Variant. Limited Edition! PRE-SALE - begins shipping 10/22/2026. If you order other items, they will not ship until the pre-order ships. Disc cut direct from Hi-Res audio masters Read more
Ca$h Grab 1st Pressing! Tide Pods Color Variant. Limited Edition!
PRE-SALE - begins shipping 10/22/2026. If you order other items, they will not ship until the pre-order ships.
Disc cut direct from Hi-Res audio masters created specifically for vinyl dynamics.
Includes 2-sided insert with lyrics and photo.
LP track listing:
A1. Freakshow
A2. I Doubt It
A3. Peaches
A4. Fate Is
A5. Punisher
A6. Follow Through
A7. Bury Me in Denver
B1. Ca$h Grab
B2. The Disappearing Man
B3. No Juice
B4. Bough Down
B5. Talking To You
B6. Couple Skate
B7. Lush
