Washington’s avant-garde post-punk ensemble Zabus has unveiled their latest album Floodplain Canticles, released on January 10, 2025, via Saccharine Underground. This record marks a significant evolution in the band’s journey, presenting an intricate fusion of bleak soundscapes, radical honesty, and chaotic psychedelia that pushes artistic boundaries while confronting the existential realities of our time.

Building on the groundwork laid by their previous release Automatic Writhing, Floodplain Canticles delves deeper into themes of isolation, spiritual evolution, and the tenuous balance between despair and hope. The album offers an expansive, immersive listening experience that challenges audiences to confront uncomfortable truths about the future and the human condition. Zabus creates a sonic environment that is simultaneously unsettling and meditative, encouraging reflection on the consequences of societal and personal choices as we collectively shape the world around us.

Musically, Floodplain Canticles evokes the dark, hypnotic atmospheres reminiscent of the Velvet Underground’s seminal work but reinterprets these influences through a contemporary experimental lens. The band’s sound is characterized by layered textures, hypnotic rhythms, and a tension between chaos and control, creating a hypnotic trance that pulls listeners into a deep exploration of subconscious fears and hopes. The album’s production is meticulous, balancing raw emotional intensity with nuanced musicality, and positioning Zabus as a formidable force within the modern avant-garde and post-punk landscape.

The album’s thematic complexity reflects founder Jeremy Moore’s profound personal and artistic evolution. Moore, a multi-instrumentalist and curator of the Saccharine Underground label and artist collective, has long been committed to exploring dark ambient, experimental, and psychedelic music through various projects. Zabus is the culmination of his artistic vision, combining talents from his previous bands to craft a unique sonic identity grounded in dark existentialism yet open to musical exploration.

The ensemble on Floodplain Canticles includes Moore on vocals, guitars, six-string bass, and synthesis, Johnny Wielding on drums, four-string bass, and percussion, Alex Zorn contributing guitars and synthesis, and Akane Shimizu providing strings and additional programming. This collaboration enhances the album’s depth and diversity, allowing the group to navigate complex emotional and sonic territories with cohesion and innovation.

Lyrically, Floodplain Canticles is a meditation on the fragile intersection of reality and illusion. The songs interrogate the allure and danger of escapism, especially in an age dominated by virtual realities and social media illusions that distort true human connection and spiritual growth. Moore’s reflections on grief, death, and perseverance imbue the album with a philosophical weight that is rarely found in contemporary music. The band embraces death and mourning as universal experiences capable of uniting rather than dividing, presenting a message that rejects nihilism in favor of resilience and transcendence.

This record follows a series of conceptually linked releases, each deepening Zabus’s exploration of human fragility and transformation. From the raw improvisational experimentation of Topography of Iconoclasm to the more structured yet still challenging The Future of Death and the spiritually probing Automatic Writhing, Floodplain Canticles continues the narrative arc while refining the group’s sound and vision. Recorded at SV Studios in Washington D.C. and engineered by Andy Baldwin, the album benefits from high-quality production that enhances the immersive quality of the music.

The visual presentation, designed by Jeremy Moore and Ava Agosti, complements the album’s themes with artwork that reflects its somber yet hopeful tone. This cohesive artistic approach reinforces Zabus’s commitment to creating not just music, but a total experience that engages the senses and the intellect.

In sum, Floodplain Canticles is a compelling and necessary work that offers a profound artistic response to the uncertainties and challenges of contemporary life. Zabus delivers a deeply affecting album that demands attentive and thoughtful listening. It is an essential release for those interested in avant-garde music that confronts existential themes with creativity, courage, and emotional honesty.

San Diego’s Taz Taylor Band returns with a compelling and soulful infusion of heartfelt honesty on their latest single “Lonely I Ride,” the lead release from their eagerly awaited eighth studio album, The Other Side of Midnight. This new collection promises ten tracks of melodic hard rock and AOR that resonate with the classic spirit of legendary acts such as Michael Schenker Group, Rainbow, Van Halen, and Journey. The band’s signature style, built on emotionally charged vocals and intricate guitar work, remains intact but with a fresh and invigorating dimension.

“Lonely I Ride” emerges as a poignant meditation on themes of isolation and resilience, elevating the familiar power rock ballad formula with a driving groove and raw emotional intensity. Central to this evolution is the extraordinary vocal presence of Laura K. Vreeland, whose voice lends a distinctive, haunting quality that complements and expands the band’s sonic palette. Her delivery is sincere and commanding, providing a perfect foil to Taz Taylor’s fluid and expressive guitar performance, which carries both technical finesse and palpable feeling. The interplay between these two forces injects new vitality into the band’s sound and sets a compelling tone for the full album, scheduled for release on May 14th.

Taz Taylor, a British-American guitarist renowned for his mastery and versatility, has long been the driving force behind the Taz Taylor Band. His previous albums have featured collaborations with formidable vocalists such as Graham Bonnet, Mark Boals, and Doogie White. However, the introduction of Laura K. Vreeland as a permanent member marks a significant shift for the group. This collaboration not only brings a fresh vocal dynamic but also underscores the band’s evolution from a project with guest vocalists to a cohesive, fully integrated band.

Taylor reflects on this transition, explaining that after the challenges of finding a male vocalist capable of delivering the demanding material from their last album, Nocturnal, the band turned to Laura. Her powerful voice and stage presence quickly made her an indispensable part of the ensemble. “By the time this album is released, we will have been playing together for nearly three years, and the musical chemistry is incredible,” Taylor shares. This long-term collaboration is evident in the tightness and emotional depth captured in the new recordings.

Laura K. Vreeland speaks candidly about joining the band, expressing both humility and excitement. She recalls feeling honored yet somewhat daunted by the prospect of following in the footsteps of the exceptional guest vocalists on Nocturnal. Yet Taylor’s confidence in her abilities helped her embrace the role wholeheartedly. “Fast forward, I am fronting an incredible, original rock band and having the time of my life,” Vreeland says. Over the past two and a half years, the band has toured extensively, opening for major acts at iconic Southern California venues, further honing their live presence and deepening their musical bond.

The Taz Taylor Band’s The Other Side of Midnight promises to be a milestone in their career, marrying classic hard rock elements with contemporary energy and heartfelt storytelling. Each track is meticulously crafted, blending melodic hooks, driving rhythms, and powerful lyrical themes that will resonate with longtime rock enthusiasts and new listeners alike. With “Lonely I Ride” as a harbinger, the band reaffirms their position as purveyors of authentic rock music that honors tradition while embracing evolution.

For fans of melodic hard rock and AOR, the album represents not only a continuation but an expansion of the band’s artistic vision. The combination of Taz Taylor’s virtuosic guitar work and Laura K. Vreeland’s compelling vocal delivery makes this record one of the most anticipated rock releases of the year. Out now, The Other Side of Midnight is poised to make a significant impact on the rock music landscape.

If you’re ready to experience something truly different in music, The Beatroot Road might just be your new favorite. This alternative world music duo, led by producer Mark Russell and fiddler Hazel Fairbairn, has been quietly crafting an adventurous sound that blends cultures, genres, and decades into a fresh, fearless mix. Their latest single, “Morbid Love,” which dropped on March 13th, is a perfect example of their boundary-pushing approach.

The Beatroot Road is not your average band. They don’t just stick to one style or geography—they actively mix it all up. Mark and Hazel collaborate with musicians from all corners of the globe—Austria, Nigeria, Venezuela, Korea, and beyond—creating a global collective where cultural influences collide and spark new ideas. What you get is music that feels like a deep conversation between traditions, an eclectic fusion that doesn’t just pay homage but redefines the sound altogether.

“Morbid Love” is a sonic rollercoaster. It mixes punk energy, rockabilly swagger, soulful grit, and classic rock n’ roll — all ramped up to full throttle. The song tells the story of a woman caught in a self-destructive emotional storm, a raw and intense narrative that matches the frenetic pace of the music. There’s a real sense of urgency and fire that makes it impossible to sit still while listening.

What makes this track even more fascinating is its history. It’s been recorded over four decades, pieced together from sessions in the ’80s, ’90s, and finally completed in 2022. You hear guitar by Richard ‘Titch’ English, motorcycle cog sounds from Harvey B., drums from Mark himself, and guest vocals by Nashville’s Katie Burke that bring an extra edge. The bassline, originally written decades ago but only recorded recently by Mark, ties it all together with a timeless groove. Hazel’s fiddle and keyboard parts add layers that feel both ancient and modern at the same time.

The video, directed by Vancouver filmmaker Atsu Kanno and featuring actors Yoonie Kim and Monica Pop, adds another dimension. It visually captures the raw, gritty spirit of the song while staying rooted in the urban landscape of Vancouver, tying the music back to a real place and time.

This single is part of a bigger story. The Beatroot Road is releasing new music every six weeks starting from last October and gearing up for a full album in spring 2025. It’s a project that’s been brewing since lockdown in a studio on a mountain near Vancouver, where Mark and Hazel began experimenting with combining “wrong” instruments and styles with the right intention to make music that defies conventions and genre limits.

Mark’s musical journey is as global as the music itself. Growing up between Sudan and Scotland, learning drum styles from African, Caribbean, and Celtic traditions, touring with eclectic bands, and sharing stages with legendary artists—his life experiences pour into every beat and rhythm. Hazel, with her background in classical and Celtic fiddle, plus a pioneering PhD on Irish pub music and studies under a South Indian violin master, brings a rich and experimental edge to the mix.

Together with their growing international group of collaborators, The Beatroot Road is building a truly unique sound. This is music made for dancing, but also for thinking and feeling. It’s music born of passion, curiosity, and respect for the many cultures it draws from.

If you’re tired of cookie-cutter music and craving something alive, unpredictable, and deeply human, “Morbid Love” is a fantastic place to start. It’s a bold statement from a project that’s only getting started and promises to take listeners on a rich, cultural adventure for years to come.

Frank Sintich is one of those rare artists who manages to blend heartfelt storytelling with raw musical talent in a way that feels both timeless and deeply personal. His latest single, “Hasn’t Stopped Raining Yet,” immediately hits you with a powerful emotional charge. From the first strum of the jangly, distorted guitars to the steady, primal beat driving the rhythm, this song carries weight beyond its sound. Frank’s voice cuts through the mix with sincerity, delivering lyrics that touch on universal struggles and the resilience of the human spirit.

The song’s themes center around perseverance and hope despite ongoing hardship. Frank wrote it after the tragic events that unfolded in New Orleans on New Year’s Eve. With close friends living in the French Quarter and a deep personal connection to the city, Frank felt compelled to write something that reflected the sorrow and violence while still holding on to the possibility of emerging from the darkness stronger than before. His lyrics work like a metaphor for that unending storm, one that tests us but doesn’t have the final say.

Musically, Frank draws from an impressive palette of influences. You can hear echoes of classic and modern rock legends like The Beatles, Bruce Springsteen, Tom Petty, and Tom Waits. His versatility as a songwriter and musician shines through in the way he balances gritty rock sounds with lyrical depth and melodic finesse. It’s a style that feels honest and lived-in, a product of years honing his craft in Chicago’s vibrant live music scene.

Over the years, Frank has been part of notable local bands such as C’mon, C’mon, Chaser, and The Hat Guys, building a solid reputation as a dedicated and skilled musician. Since going solo in 2020, he has steadily released a collection of songs that showcase his poetic approach to rock music, combining hard-earned wisdom with moments of transcendence and psychedelia. By May 2024, he had already written, recorded, and produced over 30 songs that can be found across all major streaming platforms.

Beyond his solo work, Frank is currently expanding his creative horizons by writing music for an upcoming musical titled The Weatherman, which is in pre-production. This new venture shows his willingness to explore new storytelling formats while staying true to his musical roots.

Frank’s guitar work deserves a special mention. Drawing inspiration from legends like Alex Lifeson, Steve Howe, Eric Clapton, Allan Holdsworth, and Michael Schenker, his playing is both expressive and technically impressive. Each note and riff carries emotional weight, telling stories of life’s challenges and victories alongside his lyrics.

Offstage, Frank is a family man, proud father, and grandfather. His life experience informs his music, making it feel authentic and relatable to listeners who have faced their own storms and come out stronger.

If you haven’t yet discovered Frank Sintich’s music, “Hasn’t Stopped Raining Yet” is an excellent place to start. You can find his entire catalog on all streaming platforms, and for those wanting to keep up with his journey, he stays active on Facebook and Instagram.

Frank Sintich’s music reminds us all that even when it feels like the rain won’t stop, there is strength in enduring, and hope in the possibility of a brighter day.

Some people write songs. Others live them first.

Hunter Benson is one of those rare artists whose music doesn’t just tell a story—it is the story. When you listen to one of his tracks, it’s not background noise or an easy playlist filler. It grabs you by the collar, sits you down, and says, “Let me tell you something real.”

But let’s rewind. Before the releases, the studio time, and the growing fanbase, there was a moment that split Hunter’s life in two. When he was just three years old, he and his father were struck by lightning. Tragically, his father didn’t survive. And while it’s hard to imagine anyone walking away from something like that, Hunter didn’t just survive it. He built a life of meaning around it.

His latest release, “Heaven’s Letter”, might be the most honest and vulnerable piece of music I’ve heard in a while. Released this past February, the song feels like a message in a bottle. It’s written not just about grief, but directly to it. It’s a slow-burning ballad that sits in your chest long after the last note fades. It carries all the weight of a child’s loss wrapped in the voice of a grown man still making sense of it. It’s not just a tribute to his father. It’s a moment of catharsis. The kind of song that makes you stop and check in with your own heart.

And what a voice to deliver it with. Hunter’s got that kind of voice that’s hard to describe but easy to recognize. A mix of gravel and gold. You might hear echoes of Chris Stapleton, Joe Cocker, maybe even a little Mark Lanegan, but it’s unmistakably his. It’s not perfect in the way auto-tune is perfect. It’s better than that. It’s human.

Before “Heaven’s Letter,” Benson gave us “Come and Gone” in October 2024 and “Seeking” in December. Two tracks that help round out the world he’s building. “Come and Gone” is a smoky, mournful country rock ballad that wrestles with impermanence. The people we lose. The time that slips past. The moments that haunt us. “Seeking,” on the other hand, leans into grit and resilience. It’s got more punch to it, more fire. There’s defiance in the chords and lyrics, but also that same undercurrent of searching. A theme that seems to define much of Hunter’s work.

What’s really interesting about his music is how it blends influences you wouldn’t always expect to hear together. He talks about being shaped by Alice in Chains and Mark Lanegan alongside Lynyrd Skynyrd and the dusty storytelling of Southern rock. Somehow, he pulls those threads together and weaves them into something that feels at once vintage and completely new. There’s grunge in the guitar tones. Twang in the melodies. And a whole lot of soul in the delivery.

When you meet Hunter—or even just listen to him speak—you realize pretty quickly that the guy towering over a mic with this heavy backstory is one of the most grounded, kind, and thoughtful people you’ll ever come across. He’s not trying to be a brand. He’s trying to be honest. That’s his whole thing. And it works.

With three singles out and an EP coming in late 2025, Benson is building something that feels bigger than just music. He’s carving space for real stories. His and yours and mine. Stories about what it means to lose someone and still find a way to move forward. About holding pain and hope in the same hand. About learning to live with the storm even after the lightning hits.

It’s not polished pop. It’s not manufactured sadness. It’s just one man who’s lived through hell and found a way to make something beautiful out of it. And honestly, that’s the kind of music the world needs more of.