MELBOURNE, AU (October 9, 2025) – Award-winning, critically acclaimed British singer-songwriter Holly Humberstone brings her singular gift for storytelling to Australia next month, headlining a series of shows presented by Secret Sounds and triple j. With a voice that carries both confession and catharsis, Holly invites audiences into her world in a way that feels both unguarded and unforgettable.
Today, she has announced a brand new show for her Australian tour, with the addition of Freo Social in Fremantle on Thursday, 27 November to meet demand from WA fans.
Rising local star Holly Hebe has been confirmed as support for the tour.
A Secret Sounds presale for this new Fremantle show will commence on Friday October 10 at 12pm, running until Monday October 13 at 12pm (AWST).
General public tickets go on sale Monday October 13, at 1pm (AWST).
Holly Hebe is quickly stepping out from being one of Melbourne’s best-kept secrets to a breakthrough artist in Australian music. A singer, songwriter, and producer, Holly blends piano-driven melodies and poetic lyricism into celestial, dreamy pop that nods to Clairo, Mallrat, and Oklou. Her sound, shaped by a rural seaside upbringing, carries an organic edge through inventive sampling and distinctive processing. After a breakout 2024 touring nationally with The Rions, Holly is charging into 2025 with official showcases at SXSW Austin and SXSW Sydney.
One of Australia’s most celebrated voices, proud Gumbaynggirr and Yamatji artist Emma Donovan today dips into soulful waters with a sumptuous cover of Al Green’s 1974 hit Take Me To The River. The new track arrives alongside a deeply personal music video.
In a match made in heaven, Emma’s warm, velvety vocals mark the beginning of her new solo soul era, infused with her trademark storytelling and deep sense of personal connection. “I’m quite nervous releasing a song like Take Me To The River because the Al Green version is such an iconic version, and it’s a big song!”shares Emma. “But it’s exciting and good to share my perspective on it. A song like Take Me To The River is similar to an Archie Roach song like Get Back To The Land. It’s about filling that cup up after a big breakup, going to look for that Country, looking for that water, to cleanse and feel good. I love my connection to that song and I’m excited to share it.”
“My take on this song is really about family and community,”Emma continues. “We always talk about going up the river, that’s our outlet. We go fishing, we go swimming, we go to hang out, and we take the little ones and we’re there with family. We’ve been following my nannas and my grandfathers for years to the river. So hopefully, with that bit of language that we translated, people will feel the connection to that.”
No stranger to soulful territory after fronting acclaimed outfit The Putbacks, Emma’s new take on Take Me To The River also carries threads of her lifelong love of gospel and country. “In my new soul era, I would have to describe it still with country and gospel in there,” she explains. “All of those things also make up soul. There’s also a lot of soul in country, and I believe country and gospel need to be included in soul! And the other parts of my soul era are family and connection.”
“For the single itself I worked closely with Ben Edgar who has been playing guitar for me for a while, and he’s been doing most of our recordings,”Emma adds. “He pulled that sound at his home studio in Melbourne, in Belgrave. I also worked with David Symes (Boy & Bear) on this one — he plays bass on the track too. Me, Ben and David all put our three heads together for Take Me To The River.”
Adding her own unique charm to Al Green’s original, Emma weaves her personal narratives into both the song and its compelling companion video. “A lot of the concept and a lot of the story behind the clip is re-enacting some old photos and some memories that I have with family and fishing and the river,” she shares. “A lot of the reenactment is me as a little kid, but played by my own daughters in the present day. Because my grandparents were so active in my music — they were musical people and they would also fish and take us to the river — I’ve got an Aunty and Uncle just like them in the clip too.”
“For the song itself, I was channelling my nanna, my mum and her brothers,” Emma continues. “I grew up having these big fishing trips up the river of Kempsey, a little place in Northern NSW. We used to have huge trips there. Now, it’s probably not as big, but when I was a kid, we’d take all these cars full of kids and families, and we’d go out onto the back areas of the river near the airport at Kempsey. My grandmother would have to get permission to go on properties — these white fellas had bought properties, but they were at the back of the river. So, we’d go and my nan would make friends, or she’d have some connection to a lot of people who owned these properties. These were areas she’d been to when she was growing up, so I was channelling a lot of my grandmother and all of the family trips that we had going to the river in this song.”
Widely regarded as one of Australia’s most beloved voices, Emma Donovan’s career spans over two decades. The proud Gumbaynggirr and Yamatji artist has carved a singular path that fuses gospel, country and soul with the storytelling traditions of her culture. First emerging as a teenager with Stiff Gins, Emma went on to front The Putbacks, whose albums Dawn (2014), Crossover (2020) and Under These Streets (2021) earned her critical acclaim and cemented her as a vital force in Australian music. Having performed on iconic stages including WOMADelaide, Bluesfest Byron Bay and the Sydney Opera House, Emma has become a guiding voice for the next generation of First Nations artists, and in 2021 was inducted into the National Indigenous Music Awards Hall of Fame alongside her family band The Donovans. Emma’s previous album Til My Song Is Done was nominated for an ARIA last year and won an AIR Award this year.
On the horizon, Emma will perform a special multidisciplinary show — also titled Take Me To The River — that reimagines her catalogue with powerful new arrangements, visuals and storytelling. Following its premiere at Darwin Festival, the show will appear at the Melbourne International Jazz Festival this month and Sydney Festival in 2026, marking the latest chapter in a career defined by truth, power and an unwavering commitment to song.
“With these upcoming performances, fans can expect a deeper connection to these songs,” says Emma. “I love storytelling, I love putting my own spin on things. And playing live, I’ll be sharing lots of reasons why these particular songs in the show mean so much to me. I feel like with my last album I focused so much on the family, country vibe, and the gospel vibes. So, it’s been a while since I’ve sat in the soul hot seat again. This is just me slowly driving back into that area!”
Leading this new chapter is her stirring new single Take Me To The River — a song that brings Emma’s journey full circle, connecting her past to her present and luminous future, and celebrating her lifelong love of soul.
“I mostly grew up on gospel music and country music because they were the old Mission-style songs from our family,” she shares. “I was straight-up country growing up. The genre I knew outside of country leant more towards blues. My father had a big blues collection — Robert Cray, Stevie Ray Vaughan, and LaVern Baker. That was close to soul, vocally. I had a bit of Ella Fitzgerald played to me too by my father.”
“My father actually introduced Aretha Franklin to me via the Blues Brothers film,” Emma continues, “where Aretha sings in the shop, she’s trying to hold off her husband from going on tour. She sings her song Think, and that was the first time I got to know a bit more soul. And then later on down the line I remember some friends sharing with me Renée Geyer’s album Sweet Life, my friend burnt that album and sent it to me.”
“I can’t go past a good soul song that comes from a breakup. There’s some heavy breakup sad songs that I know, and I guess it could be the country influences but I’m all over that like a rash,” Emma laughs. “Ann Peebles would sing I Can’t Stand the Rain – I love a good sad, hard soul song. They’re the things that I love and that make me tick.”
GOOD THINGS FESTIVAL
WELCOMES MAPLE’S PET DINOSAUR
TO IT’S HUGE 2025 LINE-UP
HOW MAPLE’S PET DINOSAUR BROKE ONTO THE LINE-UP OF AUSTRALIA’S PREMIER ALTERNATIVE FESTIVAL
Photo Credit: Luke Kellett
Beyond mere tales of fable and fantasy, Australia’s largest travelling music celebration, Good Things Festival, is thrilled to announce the addition of MAPLE’S PET DINOSAUR to it’s alternative myth-making line-up alongside a stellar roster of international legends, local heroes, and budding dreamweavers.
While Good Things Festival has a strict 16+ age limit, one notable exception is being made: 15-year-old viral sensation MAPLE’S PET DINOSAUR will join a stacked lineup featuring global heavyweights TOOL, WEEZER, GARBAGE, REFUSED, THE ALL-AMERICAN REJCTS and KNOCKED LOOSE on the entire three-day East Coast run.
Festival organisers had already locked in the lineup when MAPLE’S PET DINOSAUR and her teenage bandmates uploaded a gritty, fish-eye video for their debut single ‘lego’ shot entirely on their neighbour’s Ring doorbell camera.
The clip quickly exploded, becoming the most-viewed Instagram Reel in history by an Australian-born artist, with over 54 million views and counting. The track also went viral across TikTok, X, Reddit, and YouTube, propelling the band into the global spotlight.
As streams surged, so too did a genuine fan culture around the world. With support from triple j Unearthed, Triple M, and multiple spins on triple j, ‘lego’ gained traction well beyond Australia, picking up tastemaker radio support across North America, South America, and Europe. According to industry bible Chartmetric, Maple is now ranked among the Top 100 metalcore artists worldwide.
Sonically, ‘lego’ is a bully-beatdown. A heavy, urgent, 2 minute 18 second audio assault. Lyrically, it expresses Maple’s experience with teen bullying with her urgent vocal delivery sitting atop thunderous drums and an air-moving, palm-muted guitar riff. The hook which is rapidly achieving certified global ear-worm status, commands anyone dealing with toxic people in their lives to “block ‘em like lego”.
Good Things Festival promoter Chris O’Brien took notice of the momentum, pointing out that Maple already followed the festival and many of its bands. He also clocked a viral video of the group’s all-ages live show – where Good Things alum Fred Durst had personally commented on the rising star.
“I’m so excited that Maple and her friends no longer have to get Fake I.D’s to attend Good Things 2025! Maple is going to be an absolute force in the future and we are so pumped that her first ever shows will be on Good Things 2025. The festival isn’t just about the big names it’s giving opportunities to incredible young artists like Maple a platform to help catapult their careers.” says Chris O’Brien, Good Things Festival
Maple herself couldn’t hide her excitement: “My goal for 2026 was to play Good Things, so to tick that box a year early is so sick. I was even planning on making a fake ID to see Refused’s final Australian shows – so I’m glad I don’t have to break the law now.” She laughs.
“We’re at the very start of what I want to be a long career in this scene, and it’s super important to build credibility by proving we can hang in this space. It’s a big challenge and a big opportunity, and I’m grateful for it. If you come see us at Good Things, I promise we’ll make it worth getting in early!”
Tickets for Good Things Festival are on sale now, but don’t say we didn’t warn you – these tickets won’t last long!
GOOD THINGS FESTIVAL LINE UP:
TOOL Weezer Garbage | All Time Low | Machine Head | The All-American Rejects Knocked Loose | Lorna Shore | Refused | New Found Glory | Make Them Suffer Dayseeker | James Reyne | Kublai Khan TX | Cobra Starship | Goldfinger | Tonight Alive
In Alphabetical Order: Bad Nerves | Civic | Dead Poet Society | Fever 333 | Gwar | High Vis | Inertia Maple’s Pet Dinosaur | Palaye Royale | Scene Queen | South Arcade
Wargasm | Windwaker | Yours Truly Plus the chaos of Stage 666!
DATES AND VENUES: Friday 5 December – Flemington Racecourse, Melbourne (16+) Saturday 6 December – Sydney Showground, Sydney (16+) Sunday 7 December – Brisbane Showgrounds, Brisbane (16+)
WE CAME AS ROMANS SUPPORTED BY SPECIAL GUESTS CASKETS (UK)
+ HEADWRECK | FEBRUARY 2026
Set to bring their monstrous headline show to Australian shores in 2026, today Michigan metalcore titans WE CAME AS ROMANS announce their return down under this February in support of their new album ‘All is Beautiful.. Because we’re doomed’, joined by very special guests CASKETS (UK) and HEADWRECK.
Commencing on Friday 6 February in Brisbane, WE CAME AS ROMANS will hurtle through Sydney, Newcastle, Perth and close out their headline run on Thursday 12 February in Adelaide. WE CAME AS ROMANS, CASKETS and HEADWRECK will also all then perform on Saturday 14 February in Melbourne as part of the Polaris-curated heavy summer event Life’s A Beach, along with Thy Art Is Murder, Ocean Sleeper, Terminal Sleep and Reliqa.
Stepping into view in 2009 via their debut album To Plant a Seed, WE CAME AS ROMANS have remained a powerful force of sharp melodies, thick guitars, grooves and unwavering positivity in the face of an uncertain world. Between countless sold out shows, over 250 million streams, seven studio album and ongoing critical acclaim, WE CAME AS ROMANS relentlessly forge ahead with a sonic blend that spans metalcore, post-harcore, electronic hues at times and an urgency that captivates in any and every live setting.
Traversing tragedy and tenacity along the way, WCAR returned with gusto in 2025 with the recent release of their seventh studio album All Is Beautiful…Because We’re Doomed; the band’s second studio album since the tragic passing of their brother Kyle Pavone, and a collection of tracks that wrestles with the highs and lows of humanity, with Kerrang! declaring “they’ve returned to wreck your speakers and vocal cords…[the album] stands as a monolithic metalcore moment”.
In a live setting, WE CAME AS ROMANS have spent their storied career touring with some of the giants of the scene, spannning Bring Me The Horizon, I Prevail, The Used, Sleeping With Sirens, Parkway Drive and countless others, with WCAR performing down under most recently in 2023 which marked their first Aussie performances since 2015.
With an irresistible blend of lush post hardcore, modern metallic power and electronic edges equal parts towering and raw, Leeds heavy alchemists CASKETS have carved out an international reputation both for their sonic output and electrifying live performances. Recently performing down under earlier this year for a headline run celebrating their brand new album, The Only Heaven You’ll Know, CASKETS have also previously shared stages with the likes of Bad Omens, Memphis May Fire and Windwaker, and will close out 2025 performing at Vans Warped Tour in Florida along with a European and UK headline run.
With their trademark glitch-heavy sound, pop-inspired hooks, soaring choruses and low-tuned guitars firmly on the menu, Brisbane’s HEADWRECK have steadily expanded their grasp on the heavy scene since their explosive introduction in 2021 via debut single Freefall. Between selling out their own headline shows and performing alongside Invent Animate, Story Of The Year, Paledusk, Thornhill and more, HEADWRECK also continue to showcase their sharp sonic sensibilities, recently unleashing delectably chaotic singles Filet-O-Fish and Plan Z earlier this year.
Pre-sale tickets on sale: Thursday 9 October @ 11amAEDT time To Gain Early Ticket Access Register Here ->https://daltours.cc/WCAR
General tickets on sale: Friday 10 October @ 11am local time Tickets from www.destroyalllines.com
Destroy All Lines Presents
WE CAME AS ROMANS SUPPORTED BY SPECIAL GUESTS CASKETS (UK)
+ HEADWRECK
TOUR DATES:
FRIDAY 6 FEBRUARY 2026 – THE TIVOLI, BRISBANE (18+) SATURDAY 7 FEBRUARY 2026 – METRO THEATRE, SYDNEY (LIC AA) SUNDAY 8 FEBRUARY 2026 – KING ST BANDROOM, NEWCASTLE (18+) WEDNESDAY 11 FEBRUARY 2026 – MAGNET HOUSE, PERTH (18+) THURSDAY 12 FEBRUARY 2026 – THE GOV, ADELAIDE (LIC AA) SATURDAY 14 FEBRUARY 2026 – RIVIERA BEACH CLUB, MELBOURNE (18+)
General tickets on sale: Friday 10 October @ 11amlocal time
Tickets from www.destroyalllines.com
Award Winning Director, Iain Sinclair brings John Logan’s Tony Award winning play RED to Melbourne.
Directed by Iain Sinclair, starring Dylan Smith (House of Dragon, Lord of the Rings: The Rings of Power) and emerging actor Jordan Briggs (16th Street Actors Studio Grad), this intense drama by one of Hollywood’s biggest screenwriters will play a strictly limited season at fortyfivedownstairs from November 20th 2025.
Under the watchful gaze of his young assistant Ken, and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting.
Produced by Little Life Productions & Company 16, RED is a searing, exhilarating drama that exposes the fiery collision of art and ambition. Prepare for a night of revelation and raw emotion as two actors face off in a gripping theatrical showdown.
“Having been moved to tears by Rothko personally, I am thrilled to the challenge of playing such a brilliant artist, and the chance to be directed by Iain Sinclair was unpassable. ” says actor Dylan Smith
RED will play a strictly limited season at fortyfivedownstairs Melbourne from November 20th to November 30th. The show runs for 90 minutes without intermission.Tickets for RED start at $35 plus booking fee and are now on sale. Tickets available via fortyfivedownstairs HERE
Aussie indie rock trio Moler today swipe right on raw energy and nostalgic punk with AI, the group’s first new music since 2019 and a deliciously raucous ride elevated by its accompanying music video. Detailing artificial intelligence and its surrounds soundtracked by fuzzy guitars and punchy 70s and 80s pop punk energy, Moler are also set to christen AI in a live setting on Saturday 8 November, today announcing a single launch show at Thornbury’s Shotkickers, joining additional performances later next month at River Rocks Festival in Geelong and at the Tote.
Marking Moler’s first new single since their 2019 cover of the legendary Velvet Underground drummer Moe Tucker’s 1989 song Work, AI balances throwback edges, potent energy and compelling vocals alongside its futuristic subject matter. A bustling lovechild of influences, spanning The Lemonheads, The Saints, The Stooges, Blondie, The Runaways, Mudhoney, Sex Pistols and beyond, AI also brandishes Moler’s trademark, and globally recognised, sound: “it’s riot grrrl, it’s challenging, but always fun,” explains bassist and lead vocalist Helen Cattanach.
Composed by all three members, Helen alongside new writer and guitarist James (JJ) McCann and drummer David Peacock, AI came to life in Moler’s rehearsal room, as Helen elaborates, “We recorded the musical bed track at Sound Park Studios with Andre (Idge) Hehir. I called out all the changes in the music ….One, two, three, four. There was no solid lyrical content yet, just an idea. The full lyrics came together a little later at Caution Horses Recording studio with Miguel Alonso engineering; recording the vocals and mixing it for the album. James & Dave added the “AI” backing vocals and hey presto, done!”
A propulsive masterclass in raw punk and alternative rock, AI also unsurprisingly snapshots the real-world evolution and obsession with all things artificial intelligence. “Everyone, I mean everyone, is talking about AI,” shares Helen. “I thought it would be a great topic to write about. There are so many elements to AI that relate directly to music and to all of our lives. The theme of the song was about our possible futuristic, personal relationship to AI….AI as our therapist, our organiser of thoughts, our tool, our emotional relationships. There are so many questions.”
Mastering their brand new track with returning Moler collaborator Lindsay Gravina (Magic Dirt, The Birthday Party) at Birdland Studios, the group also teamed up with a longtime friend and creative compadre Ian White to bring AI’s accompanying music video to vivid and colourful life, “There was no real storyboard or concept for the clip,” explains Helen. “It was, “Can you film something or come to a live show to film? Ian has a long-term connection with Moler, having cut a few videos for the band in the past. The latest, ‘AI’, was mainly cut from live footage from a live show at the Espy, where we showcased our new songs for the first time in front of an audience. Ian asked, “Do you want footage from AI?” I said, “Well, that would be apt.”
Forming in St Kilda in the early-to-mid 1990s, Moler unveiled their debut full length ARIA nominated album Golden Duck in 1997, showcasing their eclectic craftsmanship and dexterity, flitting effortlessly between rock, punk, post punk and power pop over the years. Disbanding in the early 2000s following the release of multiple EPs, Moler ultimately reformed back in 2018 for a show-stopping performance at The Curtin Hotel, before releasing a new EP Work in 2019. A band who have garnered success and acclaim at home and abroad, spanning international tours, radio play in Japan and America, including Little Steven’s Underground Garage on SiriusXM, hosted by Steven Van Zandt, Moler have also previously shared stages with the likes of Weezer, Regurgitator, Custard and Magic Dirt, and now sit poised on an insatiable new chapter kickstarted today via their brand new single AI, which will be witnessed in full flight at a special launch show next month.
“There has been a very long time between shows,” says Helen. “Moler was kinda put on ice or defunct for 19 years. We got together initially just for a celebration of our 25 years since our first single. Then Covid hit. After that Helen was invited to do bass playing for a 90’s super group, Ash Naylor, Kram and Adalita, for a ‘Spicks & Specks’ television spot and since then Moler got on a bit of a roll with a 90’s resurgence in the live scene. Moler took off on a bit of a ride and then decided, with new guitarist and writer JJ McCann, let’s get some new material out, like an album and let’s see where that takes us next.”
JJ McCann steps seamlessly into the role of guitarist, taking over from founding member Julian Poulson, who now lives in Cambodia. Known for his work with Nunchukka Superfly, The Drones, and an extensive solo career, JJ brings his own flair and energy to the band while staying true to Moler’s unmistakable sound. Originally joining as a fill-in when Julian couldn’t make a show, JJ recalls, “When Helen asked me to join and learn 16 songs in two weeks, I thought I couldn’t do it. So, I asked my good friend and late-night conversationalist Patrick Emery, and he said, ‘do it.’” The rest, as they say, is history — JJ has well and truly cemented his place in the iconic trio.
While their long-awaited follow-up to 1997’s Golden Duck is as yet unannounced, a sophomore Moler album is absolutely on the cards; and if AI is any indication, it will be undeniably worth the wait.
AI is out today through Proper Remote Records & MGM.
CORY MARKS Goes Down To The “Whiskey River” For His Latest Single New Album ‘Sorry For Nothing Volume 2’ Out Today.
Photo Credit: Sarah Rosin
Hard-hitting country rockerCORY MARKS has released his fourth album SORRY FOR NOTHING VOLUME 2 and its anthemic third single, “Whiskey River,” via Better Noise Music.
The release of SORRY FOR NOTHING VOLUME 2 comes as MARKS’ debut breakout 2019 hit “Outlaws & Outsiders” (featuring Ivan Moody, Mick Mars, and Travis Tritt) has officially been certified Gold by the RIAA in the U.S., marking his first-ever certification in the States. The song made history as the first-ever Top 10 U.S.rock radio-charting single from a Canadian country act and has logged over 212 million global streams to date.
The singer and songwriter describes “Whiskey River,” the follow-up to the album’s second single “Hangman,” as “a rowdy, honky tonk feel-good country anthem made for late nights and good times. With twangy guitars, stomping drums, and a barroom sing-along chorus, it’s the soundtrack to letting loose after a long week.
“The song,” MARKS continues, “follows a character who is just a good timing simple man…who’s had one to many late nights according to his partner and when times get rough or she’s had enough. He runs to his favorite small-town watering hole, where the whiskey flows like a river and worries get washed away. It’s about freedom, fun, and the kind of night you’ll never forget—if you can remember it.” SORRY FOR NOTHING VOLUME 2 is an unapologetic double-barreled blast of 10 new songs, equally divided between arena-rock and roots country. Produced by Kevin Churko (Ozzy Osbourne, Shania Twain), Kile Odell (NOTHING MORE, Nita Strauss) and Andrew Baylis (Jelly Roll, Brantley Gilbert), MARKS’ SORRY FOR NOTHING / SORRY FOR NOTHING VOLUME 2 era are welcome signs of unity in a world of divisiveness.
With over 386 million global streams to date, CORY has been captivating fans across the country and rock spectrum.
THE RED JUMPSUIT APPARATUS Release Sixth Studio Album ‘X’s For Eyes’ Listen To The Single “Perfection”
Photo credit: Justin Conant
L-R: John Espy (drums), Randy Winter (guitar), K Enagonio (vocals), Ronnie Winter (vocals)
“Harder than drugs I don’t need protection This is my confession I don’t do perfection” “Perfection,” written by Ronnie Winter
5X Platinum-certified alternative rock mainstaysTHE RED JUMPSUIT APPARATUS have released their sixth album X’s For Eyes via Better Noise Music and latest single and video, “Perfection.” Against an intense driving rhythm and a big, urgent melody, lead vocalist, guitarist, and founding member Ronnie Winter candidlylays his cards on the table, singing “I like stormy weather” and that “Whatever won’t break can make us” with his signature wide-ranging voice.
Winter points out that “Perfection” is “a song about perfect imperfections, about embracing one’s flaws and the true beauty that lies within. It’s a song about individuality, self-acceptance, and the idea that our scars and imperfections make us who we are. Through the lens of perfectly imperfect, what some might consider to be mistakes, flaws, and shortcomings suddenly become good, beautiful, even desirable. It’s a reminder,” he adds, “that being perfectly imperfect is something not to hide but to celebrate.”
X’s For Eyes marks the first full-length album from THE RED JUMPSUIT APPARATUS—vocalist Ronnie Winter, his multi-instrumentalist brother Randy Winter, guitarist Josh Burke, bassist Joey Westwood, drummer John Espy, keyboardist Nadeem Salam, and newest member K Enagonio on vocals—as part of a new partnership with Better Noise Music.
“I think that anybody who’s been with us the whole time realizes that we’ve been an activist band since 2006,” Winter says. “So when I see X’s for eyes, it reminds me of the childhood cartoons, the video games—all those things where this is what happens when you don’t do the right thing. You see that character that you know and love, but for three seconds with a bunch of swirling birds over their head and they’ve got X’s for eyes because they made a mistake. They trusted the wrong person, they went in the wrong direction, they chose the wrong path and then POW! Something crazy happens and there’s X’s for eyes, or ‘RIP.’ And I just find that has a parallel reality to now.”
He continues, “In 2006, we put a song out called ‘Face Down,’ which was an anti-domestic violence song, which we then toured the country doing everything we could to raise awareness against domestic violence. So that was with song one. And then in 2025, we’re just still continuing that narrative of social justice: doing the right thing, treating women properly, as well as men. Just the mistreatment of others. We’ve broadened that. We’ve broadened that scope. Racism, homophobia—we try to touch on everything that we wanted to make sure our fans who are coming to our show know that we stand behind. And I think we did that. I really do.”
The 11 songs on X’s For Eyes find the band revving up their caffeinated pop sensibilities, throwing down the punishing riffola, delivering more electronic and ambient flourishes, and topping all of it off with Winter’s high-pitched emoting. Factor in some hair-raising cameos from Sleeping With Sirens’ Kellin Quinn (“Always The King”) and Escape The Fate frontman Craig Mabbitt (“Worth It”) and the result is genuinely RJA’s most strident full-length offering yet.
Here’s the track list for X’s For Eyes:
1. Always The King (feat. Kellin Quinn)
2. Purple Halo
3. Perfection
4. X’s For Eyes
5. Bad Beat
6. Slipping Through (No Kings)
7. Home Improvement
8. Twenty Hour Drive
9. Kins and Carroll
10. Getting By
11. Worth It (feat. Craig Mabbitt)
HEALTH UNLEASH NEW SINGLE ORDINARY LOSS
NEW ALBUM CONFLICT DLC OUT DECEMBER 11
LISTEN TO ORDINARY LOSSHERE
WATCH THE ORDINARY LOSS VIDEO HERE
PRE-SAVE CONFLICT DLC HERE
“No, it’s not just your imagination. The future is shit and the phone you are reading this on is making it worse, but please don’t put it down. We are delighted to announce 12 new tracks of anger, fear, sadness and death, and to beg for yet more of your addled attention.”
Trailblazing industrial trio HEALTH have delivered their latest single, ORDINARY LOSS the first single from their upcoming album CONFLICT DLC, set for release on December 11th 2025 on Loma Vista Recordings.
New single ORDINARY LOSS is the bands’ heaviest album opener to date and it’s a defiant return for the group – combining harrowing riffs, immersive industrial textures, and darkly reflective lyricism, the track signals a powerful leap forward and sets the stage for what promises to be one of the year’s most visceral releases. Speaking about the new single, lead singer Jake Duzsik puts it simply “The dead are blessed with no dreams.”
Listen to ORDINARY LOSS here and watch the music video here:
A stack of 12 full-octane industrial metal bangers, new album CONFLICT DLC sees HEALTH continue to explore deep existential undercurrents through a borderless genre lens. Their unapologetically heavy sound has run from harsh electronic noise beginnings through gale-force industrial pop to the half-joking categorisation “cum metal” of their previous album RAT WARS – yet what unites HEALTH’s music is its root of depressive weight and maximalist aesthetic intensity. HEALTH want CONFLICT DLC to speak directly to their fanbase, which they describe as a “coalition of subcultures” – spanning memelords, heavy music diehards, the perverted and generally pop culture obsessed – and for all its existential strain, it is ultimately designed for enjoyment.
Lyrically, Jake continues to inhabit familiar terrain – depression, anxiety, compulsion – but now with a resonance born of 2025’s hyper-digital doomscrolling culture. Speaking about the new album, he drolly explains “No, it’s not just your imagination. The future is shit and the phone you are reading this on is making it worse, but please don’t put it down. We are delighted to announce 12 new tracks of anger, fear, sadness and death, and to beg for yet more of your addled attention.”
For the new album, HEALTH enlisted the inimitable STINT for production again who took the cinematic heaviness established on RAT WARS and pushed it in a more concentrated direction for CONFLICT DLC. The band also tapped Knocked Loose producer Drew Fulk (aka WZRD BLD) to mix the album alongside Lars Stalfors, who together expertly balanced the high contrast textures of the album.
From October to December, HEALTH will bring their unmatched energy to live stages across North America and Latin America as they join Pierce the Veil on their I Can’t Hear You World Tour. HEALTH will light up amphitheatres and arenas across the States before heading to Latin America, seeing them perform in cities such as Bogota, Mexico City, Buenos Aires and Sao Paulo. Known for their wild and immersive performances, HEALTH are fiercely revered live, and this tour will see them begin to tease new songs from their much-anticipated new record.
A slate of sad bangers for the end times, CONFLICT DLC finds connection in the disconnect and glitter in the dark.
01. ORDINARY LOSS
02. BURN THE CANDLES
03. VIBE COP
04. TRASH DECADE
05. TORTURE II
06. ANTIDOTE
07. DARKAGE
08. SHREDENVY
09. YOU DIED
10. THOUGHT LEADER
11. DON’T KILL YOURSELF
12. WASTED YEARS
NEW ALBUM FLOWERSARRIVES NOVEMBER 14 VIA SOLID STATE
TOURING NATIONALLY THIS OCTOBER SUPPORTING BULLET FOR MY VALENTINE
Photo Credit: Wyatt Clough
THE DEVIL WEARS PRADA — Mike Hranica (vocals), Jeremy DePoyster (guitar, clean vocals), Kyle Sipress (guitar), Jonathan Gering (keys, synths, programming, percussion), and Giuseppe Capolupo (drums) — will unleash their ninth album Flowers on November 14 via Solid State Records. Pre-order it here.
Now, they share the video for new single So Low. The video is comprised of clips captured during the band’s recent headline tour of Latin America. It’s a montage of footage, some of which was shot on Super8 film and giving the video a specific point of view and an almost “vintage” bird’s eye view.
Regarding the song, Hranica explains, “To me, ‘So Low’ is almost fighting the mundane, when everything feels flat or meaningless. You just want to set it all on fire and blow it up to get a reaction. It’s about chasing that rush, even if it leaves you feeling worse in the end. The song comes from that place of frustration, when you’re desperate to feel alive no matter the cost.”
As for the accompanying visual, he elaborates, “I love that we are able to capture Latin American cityscapes and habitation. It was a long time in the works to head back to places we hadn’t been in a long time, and I think it adds something extra to the aesthetic of ‘So Low.’ Visuals that we’ve never incorporated, different than what’s often seen stateside — all in all, it’s a nod to our loyal listeners across Mexico and South America.”
Flowers marks the start of an incredibly epic cycle and phase for the band. The global touring scheduling finds The Devil Wears Prada playing some of the biggest shows of their career. They just wrapped the Summer of Loud tour, which packed amphitheaters through the summer. Additionally, the single For You is the band’s first-ever track to chart on both the Mediabase and Billboard Active Rock charts. TDWP are continuing to hit new milestones two decades into their career, proving their vitality as a career band.
The band also graces the Fall 2025 cover of Revolver. See the issue below. Get it here.
TDWP have a slew of upcoming tour dates on deck, including dates in Australia with Bullet For My Valentine this October; headline shows in South Africa; and a trek across Europe with Ice Nine Kills and Creeper. The band will also appear at Warped Tour in Orlando on November 15-16, and will also embark on the Emo’s Not Dead Cruise in January, as well.
Flowers Track Listing:
01. That Same Place
02. Where The Flowers Never Grow
03. Everybody Knows
04. So Low
05. For You
06. All Out
07. Ritual
08. When You’re Gone
09. The Sky Behind The Rain
10. The Silence
11. Eyes
12. Cure Me
13. Wave
14. My Paradise
