Indie royalty, three shows, and a cheeky Hills End flex? Say less.

Sydney’s own DMA’S are back with a tidy little (read: massive) announcement – a brand new self-titled album landing August 7, plus a super limited run of three exclusive Aussie headline shows this November/December.

DMA’S – ‘Heatin Park’

The East Coast lap kicks off at Brisbane’s Fortitude Music Hall on Nov 27, rolls into Melbourne’s Royal Botanic Gardens for a lush Live At The Gardens moment on Nov 28, before wrapping up with a huge hometown flex at the Sydney Opera House Forecourt on Dec 3. Yep – that one’s gonna be special.

And because they know exactly what the people want, DMA’S are also throwing in a Hills End anniversary set to celebrate 10 years of their debut – a nod to the record that kicked off their rise from local heroes to global festival mainstays.

The new self-titled album marks a fresh chapter for the trio, blending their signature anthemic indie sound with some new textures, co-produced alongside Lachlan Bostock (Mansionair), plus collaborators Jimi Somewhere and Styalz Fuego. Latest single ‘Heatin Park’ is already showing off that range – gritty, distorted, and stadium-sized – a sharp left turn from the dreamy vibes of ‘My Baby’s Place’.

Between Glasto, Coachella, Splendour and basically every big stage going, DMA’S have long proven they can go toe-to-toe with the world’s best – but there’s something about a hometown run that just hits different.

DMA’S – Australia 2026 (3 Exclusive Shows)

• Friday 27 November – Brisbane, Fortitude Music Hall
• Saturday 28 November – Melbourne, Royal Botanic Gardens
• Thursday 3 December – Sydney, On The Steps at Sydney Opera House Forecourt

Album Pre-order Presale: Thurs 30 April, 10am – Friday 1 May, 12pm

Mastercard / Promoter* Presales: 24 hour window – Thurs 30 April, 12pm – Fri 1 May, 12pm

SOH What’s On Presale: Thurs 30 April, 2pm – Friday 1 May, 12pm

General Public on sale: Friday 1 May, 1pm here

Further Reading

triple j’s Hottest 100 Of Australian Songs: The Complete List

Ruel And DMA’s Release First Of Two New Collaborative Singles, ‘What A Life’

DMA’S Reveal Unheard ‘Delete’ Demo on ‘What a Great Punk’ Podcast

The post DMA’S Confirm East Coast Tour + New Self-Titled Album appeared first on Music Feeds.

Metalcore multiverse moment incoming…

US heavyweights August Burns Red have just dropped a brand new heater, ‘Sonic Salvation’, and they’ve roped in none other than Jamie Hails from Aussie juggernauts Polaris for the ride. And yep, it absolutely goes as hard as you’re hoping.

August Burns Red – ‘Sonic Salvation’ ft. Jamie Hails

Lifted from their upcoming album Season Of Surrender (out June 5 via Fearless Records), ‘Sonic Salvation’ is pure catharsis – punishing breakdowns, massive gang chants, and that sweet spot where melody meets chaos. Guitarist JB Brubaker says the track was written to give more space for vocals and lean further into their hardcore roots, while frontman Jake Luhrs frames it as a love letter to music itself, the thing that pulls us back from the brink, connects scenes, and keeps the whole engine running.

And then there’s Jamie Hails, who steps in and absolutely launches the track into the stratosphere. It’s a collab that just makes sense – especially given ABR’s long-standing love affair with Aussie crowds, and Polaris’ status as one of the country’s most beloved heavy exports right now.

The accompanying video doubles down on that connection too, featuring fans singing and playing along – a nod to the global metal community that’s kept ABR thriving for over two decades. Wholesome? Yes. Still heavy as hell? Also yes.

The drop lands just ahead of ABR’s return to Australia this September/October, where they’ll headline their first run here in seven years – and crucially, the first place in the world they’ll be touring behind Season Of Surrender. If ‘Sonic Salvation’ is anything to go by, those shows are about to be feral.

Safe to say: the pits are preheating.

August Burns Red 2026 Australian Tour Dates

With Bloom & I Promised The World (US)

• Sun 27 Sept – Perth, Freo Social
• Tue 29 Sept – Adelaide, The Gov
• Thu 1 Oct – Melbourne, 170 Russell
• Fri 2 Oct – Sydney, Liberty Hall
• Sat 3 Oct – Newcastle, King St Bandroom
• Sun 4 Oct – Brisbane, The Tivoli

Further Reading

August Burns Red Announce 2026 Australian Tour

Bloom Take Us Track By Track On Their New Album, ‘The Light We Chase’

August Burns Red Just Turned The ‘Home Alone’ Theme Into A Punk Christmas Anthem

The post August Burns Red Drop ‘Sonic Salvation’ Featuring Polaris’ Jamie Hails appeared first on Music Feeds.

Aussie 90’s pop nostalgia just got a glossy, late-night reboot.

Bachelor Girl are back with another taste of their upcoming redux album Waiting For The Day: Artist Sessions – and this time they’ve teamed up with none other than Savage Garden icon Darren Hayes for a seriously moody rework of their classic ‘Blind’.

Bachelor Girl – ‘Blind’ (ft. Darren Hayes)

Originally a soaring pop cut, ‘Blind’ has been flipped into something far more shadowy and restrained – think brooding electro-pop, all tension and atmosphere. Frontwoman Tania Doko leans all the way into that darker energy, describing her vocal as “restrained, a bit tormented… whispering betrayal through my teeth,” while Hayes slides in with those unmistakable, silky ad-libs that instantly elevate the whole thing into something fresh and familiar.

It’s a collab that’s been a long time coming, too. The artists’ history stretches back decades, and Hayes didn’t need much convincing – jumping on the track immediately after hearing the demo. “I’m not a phone person,” he admitted, “but I called her straight away. The song was so exciting and inspiring I had to be a part of it.”

The reimagined ‘Blind’ follows the duo’s recent link-up with Jessica Mauboy on ‘Treat Me Good’, with Artist Sessions shaping up as a full-blown Aussie all-star moment – 15 tracks, 14 collaborators, and a whole lotta reworked feelings from their double-platinum debut era.

And yep, they’re taking it on the road too. The Waiting For The Day Redux Tour kicks off with warm-up shows in Bendigo and Yackandandah before rolling through Melbourne, Brisbane, Adelaide, Frankston and Sydney across August to October. Tickets are on sale now, so if you’re keen to relive the feels (but make it ~evolved~), you know what to do.

Dates below.

BACHELOR GIRL – WAITING FOR THE DAY REDUX TOUR 2026

Warm-Up Shows

• Fri 31 July – The Golden Vine Hotel, Bendigo VIC
• Sat 1 Aug – The Star Hotel, Yackandandah VIC

Main Tour

• Sun 18 Oct – The Factory Theatre, Marrickville NSW (18+)
• Sat 8 Aug – Brunswick Ballroom, Brunswick VIC (18+)
• Sun 23 Aug – The Triffid, Brisbane QLD (18+)
• Fri 28 Aug – The Gov, Adelaide SA (18+)
• Fri 4 Sep – Cube 37, Frankston Arts Centre VIC (All Ages, U15s with adult)

Tickets on sale now via www.bachelorgirl.com

Further Reading

Darren Hayes, Once Again, Shuts Down Savage Garden Reunion Talk

Darren Hayes: The Sounds That Inspired His New Album ‘Homosexual’

Reunited ’90s Faves Bachelor Girl Drop New Single ‘Speak’, 20 Years After ‘Buses & Trains’

The post Aussie 90’s Pop Icons Unite: Bachelor Girl & Darren Hayes Reimagine ‘Blind’ appeared first on Music Feeds.

Nu metal is so back it’s practically wearing Adidas again.

Korn have surprise-dropped a brand new single, ‘Reward The Scars’, marking their first fresh material in four years – and yep, it rips. The track lands outta nowhere ahead of their upcoming OS live run, and doubles as a collab with the Diablo IV expansion Lords of Hatred, which drops April 28. Listen below.

KoRn – ‘Reward the Scars’

Produced by longtime collaborator Nick Raskulinecz (the man behind The Serenity of Suffering), ‘Reward The Scars’ leans straight into Korn’s signature darkness – gritty, brooding, and built for both mosh pits and demon-slaying sessions. It’s their first release since 2022’s Requiem, which topped Billboard’s Hard Rock Albums chart, and arrives right as the band gear up for a stacked year of touring, including Sick New World and a bunch of international dates (sadly no Aussie ones on the cards at this point though – boo-urns).

There’s also a lil intrigue in the mix… fans are already clocking the bass tone and asking the big question: is that OG bassist Fieldy back in the fold, or still Ra Díaz holding it down? Fieldy’s been on hiatus since 2021 and hasn’t been in contact with the band for years, so… jury’s out. Either way, the low end is thicc and doing the lord’s work.

For Aussie fans, this drop hits extra nice – Korn were last down under in 2024 tearing up Good Things Festival, reminding everyone exactly why they’re still one of the heaviest legacy acts on the planet.

New era? Maybe. Sneaky one-off? Also possible.

Watch this space.

Further Reading

Korn’s ‘Freak On A Leash’ Is Going Viral Thanks To New TikTok Dance

Korn Fan Ejected From Stadium Show For Masturbating Mid-Set

Korn’s Jonathan Davis: “If We Made Records Trying To Make Everyone Happy They Would Suck”

The post Korn Drop First New Song In 4 Years ‘Reward The Scars’ appeared first on Music Feeds.

Pop girlies, assemble: Kita Alexander is gearing up for a massive 2026, announcing her RAGE Australian tour alongside a brand new single, ‘Tell My Friends’, dropping this Friday.

The track, featuring Danish artist Christophe, is the latest taste of Kita’s upcoming sophomore album RAGE, landing June 26 (pre-order here). And in true Kita fashion, it’s equal parts glossy pop and emotional overshare (respectfully).

Kita Alexander – ‘Rage’

“Sometimes in anger… we tend to overshare with each other,” Kita explains. “It’s human nature, but what we don’t talk about enough is how anger, if not processed properly, can leave lasting marks.”

Relatable content tbh.

The new single arrives alongside news of the RAGE Tour, which will see Kita hit the road across Australia this September before heading off to Europe and the UK. The Aussie run kicks off in Melbourne on September 12, followed by stops in Sydney, Brisbane, Adelaide and Perth.

If her last era is anything to go by (sold-out shows, ARIA noms, and a casual support slot for Dua Lipa) we reckon you can safely expect this next chapter to go even bigger.

And RAGE? It’s shaping up to be a proper statement.

Described as a “reclamation of self,” the album sees Kita leaning all the way into the emotion she’s spent years trying to suppress. “Rage has been the catalyst for positive change in my life,” she says. “It’s about embracing it instead of shutting it down.”

Sonically, it’s also a shift – recorded live with organic instrumentation and built with her live show in mind. Translation: these songs are gonna hit different in a room full of screaming fans.

Get around new single ‘All My Friends’ when it drops this Friday. Til then, you can catch Kita’s full list of 2026 Australian tour dates down below.

Kita Alexandeer 2026 ‘RAGE’ Australian Tour Dates

• 12 SEPTEMBER | NORTHCOTE THEATRE, MELBOURNE
• 18 SEPTEMBER | METRO THEATRE, SYDNEY
• 19 SEPTEMBER | PRINCESS THEATRE, BRISBANE
• 24 SEPTEMBER | THE GOV, ADELAIDE
• 25 SEPTEMBER | RECHABITE, PERTH

Tickets on sale from this Thursday, 23rd April at 10am local time via kitaalexander.com

Further Reading

triple j’s Like A Version in 2023

How Much Do Coachella Headliners Actually Get Paid?

Violent Soho Are Back: Aussie Rock Heroes Announce First Shows In 4 Years

The post Kita Alexander Announces ‘RAGE’ Australian Tour + New Single ‘Tell My Friends’ appeared first on Music Feeds.

Strap in, legends – Electric Callboy are back in full chaos mode, announcing their long-awaited new album TANZNEID, landing August 7 via Century Media / Sony Music Australia.

To celebrate, the electronicore party starters have dropped a brand new single ‘Hypercharged’ – and in peak EC fashion, it comes with a wild crossover, teaming up with smash-hit mobile game Brawl Stars. The track doubles as the theme for a new in-game character named Damian – who, according to the band, is basically built out of their exact sonic DNA.

Brawl Stars x ‪Electric Callboy – ‘HYPERCHARGED’ (Damian Official Music Video)

“We’ve always been massive gaming fans, so teaming up with Brawl Stars felt like a perfect match,” the band said. “Damian fits our sound like he was built for it – heavy, explosive, and impossible to ignore.”

If TEKKNO was a level up, TANZNEID sounds like the full-blown final boss level. The band say the new record pushed them to the brink (in a good way).

“After TEKKNO and all the touring, TANZNEID took everything out of us,” they explain. “It was intense, exhausting, but exactly what we needed… Every track surges with energy. Heavy beats, explosive drops – it’s raw, loud and alive.”

The new album builds on the band’s signature cocktail of metalcore chaos, rave energy and meme-level fun, while cranking everything up another notch. “We wanted to match our music with your adrenaline,” they add. “Something that pulls you onto the floor and doesn’t let go.”

And yep – Aussies will get to experience it live very soon. Electric Callboy are already gearing up to bring TANZNEID Down Under this September for their biggest Australian headline tour yet, hitting Perth, Adelaide, Melbourne, Sydney and Brisbane with Ice Nine Kills.

New album, new era, and a literal video game crossover.

Not bad for a bunch of lads who just wanted to make the heaviest dance party on Earth.

Stream the official video for ‘Hypercharged’ up above, or get around their full list of forthcoming Aussie tour dates down below.

Electric Callboy 2026 Australian Tour Dates

• FRIDAY 4 SEPTEMBER 2026 – RAC ARENA, PERTH
• SUNDAY 6 SEPTEMBER 2026 – AEC ARENA, ADELAIDE
• TUESDAY 8 SEPTEMBER 2026 – ROD LAVER ARENA, MELBOURNE
• THURSDAY 10 SEPTEMBER 2026 – QUDOS BANK ARENA, SYDNEY
• SATURDAY 12 SEPTEMBER 2026 – RIVERSTAGE, BRISBANE

General tickets on sale now via www.destroyalllines.com

Further Reading

Electric Callboy Announce 2026 Australian Tour

Electric Callboy Drummer Departs Band After 13 Years

Parkway Drive To Headline Australia’s First Metal Festival Cruise, ‘Hellbound’

The post Electric Callboy Announce New Album ‘TANZNEID’ + Drop Gaming Collab Banger ‘Hypercharged’ appeared first on Music Feeds.

If your brain is still wired for Pitbull-era vibes and sweaty dancefloor bangers, allow us to introduce your next obsession: Doov.

The rising Brooklyn-based artist and producer has just dropped his latest single ‘Mr. Worldwide’ – a high-energy club weapon that fuses tech-house bounce with shout-along rap hooks, all wrapped in a very deliberate throwback to the golden era of 2000s dance-pop. And yep, the title is exactly the reference you think it is.

Doov – ‘Mr. Worldwide’

Co-produced with his brother and longtime collaborator Silly J, the track was sparked by a synth line Doov dreamed up in a post-surgery haze (as you do), before evolving into a full-blown homage to the fun-first, no-seriousness-allowed ethos of early-2000s club music. It even features a cheeky sample of a Pitbull interview pulled from Australia’s Smallzy’s Surgery – because commitment to the bit is everything?!

“I always had this line floating in my head about ‘feeling like Mr. Worldwide’ because it sounds cool, but it’s also kind of funny,” Doov explains. “Pitbull… never takes himself too seriously and is really focused on making his music fun. That’s what I’m trying to do as well.”

And that philosophy tracks. ‘Mr. Worldwide’ leans all the way into colour, chaos and pure escapism – the kind of track designed for packed rooms and losing your voice by the second chorus.

It’s also the latest step in Doov’s rapid rise, following viral cuts like ‘Evil’ and ‘Impress Me’, which have helped push him past 1.5 million monthly streams. After cutting his teeth in the New Jersey SoundCloud scene and later reshaping his sound in Berlin’s underground techno world, he’s now carving out his own lane – a hybrid “Dancerap” sound where hip-hop and EDM collide without asking permission.

Fresh off a sold-out show at NYC’s Mercury Lounge and launching his own club event series, Doov is quickly becoming one to watch – especially if you like your dance music loud, a little bit ridiculous, and impossible not to move to.

Take it for a spin up above.

Further Reading

Love Letter To A Record: Rojdar On Pitbull’s ‘Mr. Worldwide’

NEWS FLASHBACK: Santana: “Pitbull Is The Queen And Rolling Stones Of Today”

Ava Della Pietra Has A Song For Your 3am Emotional Spiral

The post Meet Doov: The Brooklyn Artist Bringing 2000s Dance-Pop Back With ‘Mr. Worldwide’ appeared first on Music Feeds.

If your feed’s feeling cursed lately, Ecca Vandal has the perfect solution: log off, get loud, and start unfollowing with intent. The genre-smashing Melbourne force has announced her new album LOOKING FOR PEOPLE TO UNFOLLOW, landing May 22 via Loma Vista Recordings. And from the jump, it’s shaping up as a gloriously unfiltered rejection of the algorithm era.

Framed as a record about cutting ties with anything that drains your energy, the album leans all the way into Ecca’s signature cocktail of carnage – pulling from punk, jazz, hip-hop and beyond – while doubling down on autonomy and creative freedom. “The systems. The trends. The illusions of connection,” she explains. “I find empowerment in being loud and noisy.”

Ecca Vandal – ‘SORRY! CRASH!’

The announcement arrives alongside new single ‘SORRY! CRASH!’ (above), a suitably explosive addition to an already stacked rollout that includes ‘MOLLY’, ‘CRUISING TO SELF SOOTHE’, ‘BLEED BUT NEVER DIE’ and ‘THEN THERE’S ONE’. And if the vibe so far is anything to go by, this album isn’t here to play nice..

In true DIY spirit, LOOKING FOR PEOPLE TO UNFOLLOW was recorded and produced by Ecca and collaborator Richie Buxton in his childhood bedroom – a self-imposed offline bubble where the pair ditched industry noise, ignored the metrics, and built their own little sonic universe.

Fresh off landing a Coachella debut and gearing up to support Deftones on their upcoming Australian tour, Ecca Vandal is stepping into this new era louder, freer and more uncompromising than ever. Pre-order the LP here.
Deftones 2026 Australian Tour Dates

With Interpol & Ecca Vandal

• SATURDAY 2 MAY – QUDOS BANK ARENA, SYDNEY
• SUNDAY 3 MAY – QUDOS BANK ARENA, SYDNEY
• WEDNESDAY 6 MAY – ENTERTAINMENT CENTRE, BRISBANE
• SATURDAY 9 MAY – ROD LAVER ARENA, MELBOURNE
• SUNDAY 10 MAY – ROD LAVER ARENA, MELBOURNE

Tickets on sale now via Live Nation

Further Reading

Deftones Announce 2026 Australian Tour With Interpol

Ecca Vandal Returns With Comeback Single ‘Bleed But Never Die’

Watch Ecca Vandal Take On Rihanna, Dizzee Rascal & Kelis For ‘Like A Version’

The post Ecca Vandal Announces New Album ‘LOOKING FOR PEOPLE TO UNFOLLOW’ appeared first on Music Feeds.

Prog heads, assemble – Plini is back with a brand new album, An Unnameable Desire, landing April 24, and it’s shaping up to be another brain-melting addition to his already stacked catalogue.

Across 10 tracks, the Aussie guitar wizard’s third full-length promises to push his signature blend of technical wizardry and emotional depth even further – dialing everything up in every direction. Heavier riffs? Heavier. Prettier moments? Prettier. Finger-breaking passages? Good luck. It’s the kind of “why would you even try to play that???” energy prog fans absolutely live for.

Plini – ‘An Unnameable Desire’

Alongside the announcement, Plini has dropped the album’s title track (spin above) – a deceptively breezy first taste that (according to the man himself) is intentionally not showing all its cards. Despite his reputation as one of the most revered guitarists in the game, the track notably sidesteps a traditional solo, instead leaning into mood, texture and storytelling – setting the tone for what he describes as a “whimsical first chapter” before things inevitably get weirder.

“I picked this as the first single because it sets the tone/sound of the album without really giving anything away,” shares Plini. “I’m known as a guitarist, but this song doesn’t even really contain a guitar “solo”. Much like the video, it’s the whimsical first chapter of an adventure, and hopefully gives a false sense of security for what’s to come.”

An Unnameable Desire also sees Plini linking up with a stacked crew of collaborators, including longtime creative partner Simon Grove, plus Chris Allison, Dave McKay, A.J. Minette and more – all contributing to the album’s rich, multi-dimensional sound. But at its core, the process hasn’t changed: just Plini, a guitar, and a lot of very dangerous rabbit holes.

With past albums like Handmade Cities and Impulse Voices cementing his status as one of the most exciting names in instrumental prog, and a global tour locked in for 2026, this next chapter feels less like a big evolution.

Pre-order the LP here.

Further Reading

Doja Cat Apologised To Australian Guitarist Plini For Borrowing His Composition For ‘Say So’ Performance

Karnivool Officially Announce First New Album In 12 Years, ‘In Verses’

Monolith Festival 2022 Review – Karnivool Lead Prog Rock Masterclass in Melbourne

The post Plini Announces New Album ‘An Unnameable Desire’, Drops Intricate New Single appeared first on Music Feeds.

Alt-pop chaos merchants Cry Club are back with their third album High Voltage Anxiety this Friday – and it’s shaping up to be their most fully realised (and fully unhinged) statement yet. Self-produced, self-engineered and completely on their own terms, the record sees the duo of Heather Riley and Jonathon ‘Jono’ Tooke diving headfirst into the emotional and political overwhelm of modern life – from doomscroll-induced brain rot and wealth inequality to burnout, relationships and the slow decay of media literacy – all wrapped in their signature cocktail of industrial pop, punk energy and euphoric chaos.

But beneath the rage (and there’s plenty of it), High Voltage Anxiety is also driven by something deeper: care. Care for their community, their world, and the belief that things can be better – even when everything feels like it’s spiralling. To celebrate the release, Cry Club have taken us inside the album with a full track-by-track breakdown, unpacking the ideas, influences and existential spirals behind each song. And trust us, there’s a lot going on under the hood here. You can pre-order the LP here and read their words down below.

Cry Club ‘ Monster Of The Week’

1. ‘ACT ONE’

JONO: Honestly I’m such a huge Kendrick Lamar fan that I had the moment of realisation that for all that we got right on the last two records, one thing that felt missing was this ambitious world setting thing that so many records I love have. Like when I press play on ‘Mr. Morale & The Big Steppers’ I immediately hear A WORLD. Always using the concept of album spacing like it would appear on vinyl, we imagined the record as two halves who each could have their own tone setting track to establish the world / but also provide a palate cleanse like you would get at the start of a Pixar movie with their short films. An opportunity to take a deep breath in before we pummel the shit out of you with our heaviest record yet.

HEATHER: When we decided to self-produce this album, we initially toyed with the idea of it being a more heavy-duty concept album. There’s still a pile of songs in our google drive based around that idea that we never quite figured out, but this is one of the songs that survived from that batch! It really sets the tone for the album in a way we haven’t been able to do before, it’s cinematic but still grounded in reality: this is a real conversation we had with people we love, trying to figure out how to make the world a better, more liveable place for everyone. Obviously one album isn’t gonna change the world, but if we can convince at least one listener that they aren’t powerless, it’s worth it.

2. ‘RETALIATE’

J: For the longest time, we had this instrumental idea that we always thought was super exciting but could never turn it into an actual song. We’d swung at it 7 or 8 times, each turning into a different song but never capturing what was so interesting about the core idea – until we FINALLY landed here with Retaliate. Another moment where the direction of the record helped crack the song, the combination of breakbeats and down tuned guitars lead us to what immediately felt like The Answer and the song felt like it immediately worked. I love the combination of post-punk reverb guitars against the 8 string metal ideas in the verse, any time we can really cross over styles I’ll always jump at the chance. Staying in one lane is never interesting for us, so being able to do everything we like in one song is a blessing.

H: Jumping off from the intro, Retaliate is our first solution to the question of “what’s wrong, how could we fix it?” and the result is BURN IT DOWNNNNNNNNNN. Musically, this song is one of the “babies” of a different song that we’ve been working on literally for like? 5 years now? Every time we open up that song, we work on it for a day and then realise we’ve written a completely different song, so we open it in it’s own session and follow that until it’s done. We did have a few shots at Retaliate until landing on this one, it feels like a new ‘Robert Smith’ in the sense that the first version was wayyyyyy too serious, and this final version is the more stream-of-consciousness take on our earlier idea! We really dug through a bunch of club samples Jono has on file and went purely with the things we found the most fun and exciting, which seems to be the eternal solution to all of our songwriting problems. This is a really satisfying combination of our biggest influences as well as trusting ourselves to make something as fun for us as possible.

3. ‘HIGH VOLTAGE ANXIETY’

J: Crazy that this ended up being the title track of the record, one that summarised everything we had been writing about at that point in time, because I barely even remember writing it for a second. From my end, the song just Arrived one day almost fully formed immediately – a combination of hardcore punk, gothic ambience and rave synth intensity that plays out like a dance track. We knew we had something fun but from the very first time we ever played it live it was like setting gasoline on fire, it just ignited the crowd in a way that we’d almost never experienced before. A blessing.

H: Have you dreaded opening social media recently? It feels like an attack on your nervous system to look at the news, look at what hot takes people have on that news, and the backlash to the aforementioned hot takes wallpapered on every newsfeed and FYP. Knowing that our timelines are designed to keep us in these doomscrolling loops and STILL being unable to stop is the inspo for this song and the album title! It’s so far beyond regular anxiety, battling lack of media literacy and reading comprehension when there’s a financial incentive for people to behave like the worst version of themselves. This is a kind of mirror to Retaliate where instead of fighting against the evils of the world, you give up and let it consume you, going completely crazy in the process.

4. ‘BELIEVE’

J: God a miracle that this got to the finish line. In the same way I don’t remember writing High Voltage, this one I remember every painful second of years of trying to make it work. The chorus was just too good to not figure out everything for it, and having the tone set for the rest of the record we were able to finally crack it – sounding like a pop band collaborating with both Korn & Foals somehow. Also I think just the general theme of realising how much something had been holding you back in hindsight is a bit of a forever topic in so many senses, so it really fit well into this anti-capitalist message of the record.

H: This is an older song that we’ve reworked dozens of times, in dozens of genres, but the ‘evil club’ sound is something we’ve wanted to attempt for ages!! It’s narrower in scope than the first few songs, more interpersonal, but still follows the same theme. When you’re so worn down that you’ve lost all the fight in you, it leaves the door open for people to take advantage of you when you’re vulnerable. We were so attached to this “do you wanna believe” hook that feels almost religious, staying close to someone you know is hurting you but unable to think of a life outside of it. The song is so spacey and floaty, looking back on all the red flags with mixed emotions: wondering how you could let that happen to you, but trying to understand and forgive yourself at the same time.

5. ‘FEEL THIS WAY’

J: Probably my favourite non-single, this song feels like it achieves everything we set out to do with this record with flying colours. A personal favourite moment is when the Meshuggah inspired guitars arrive in the first chorus, it feels like we’re able to combine some early noise influences of mine with our current spin towards everything heavy and industrial. Always putting it in a package of pop-structure and accessibility means that we can get away with absolute murder with what’s actually in the song, so the gigantic key change that lands each chorus always feels like “hahaha I can’t believe we got away with that”.

H: I think this is one of my favourites on the album, brutal and driving and empowering all at once. Again, it’s like a mirror to the previous song from another perspective, what if you had the power to call out someone for becoming the thing they promised not to be? The sheer force of the instrumentation makes me feel 10 feet tall, untouchable and righteous above everything, it’s the euphoria of getting the last word and the devastation of pushing someone out of your life when you can’t deal with them anymore.

6. ‘THIS, FOREVER’

J: Last song of the first side of the vinyl record, I think I always like putting something nostalgic in a spot where it’s got a moment to breathe afterwards. There’ll be the moment where someone is listening to the record and it plays this song and then there’ll be the silence before they flip to the next side, which is kind of an intentional part of its construction. Also it feels like a nod to our first record in so many ways, but made more intense and sonically explorative. Amongst so many super heavy songs, you do need a break from the riffs, so touching back on a love of M83 and shoegaze music from my teen years felt like a great way of getting that.

H: Ahhhhhh a breath of fresh air, however bittersweet. Being involved in more activism over the past few years has meant getting front-row-seats to the angst of leftist infighting. It’s painful to have conflict with people who are supposed to be on your side, so have the same goals but be so at-odds in the methods of getting there. It can be so easy to get caught up in these smaller issues instead of the bigger ones, and I’ve learned one of the most important skills is knowing when to let things go, when to be patient, and how to disagree out of love. The love seeps into every part of the song, an acknowledgement of how difficult it is to admit when you feel hurt or when you’re potentially wrong.

7. ‘ACT TWO’

J: And then we’re back in, there’s the relief of something like ‘This, Forever’ and then we need to bring things back up and ready for intensity. So much of this was born out of being in the studio when we were recording drums and gang vocals, they had this beautiful piano there and it just lifted all the ideas we had for this. Amongst however many chopped and distorted elements, the piano is almost a lighthouse that feels like it stays hopeful despite the intensity around it.

H: Slightly more cynical, but far more driven, once you’re on the same page politically as your loved ones, you gotta make space to vent without constantly coming up with solutions. There’s a momentum to this interlude that I love, the shared eye-roll with your bestie when someone says something cooked and you’re letting it go for now but you’ll add it to the list of fucked shit you have to deal with. The piano leitmotif from ‘This, Forever’ is something I’m so proud of in this song, Jono tied all our ongoing threads of the album together so well, it’s hopeful but not naive, tired but not resigned, it’s like a water break on the album and so beautiful.

8. ‘FOR YOUR HEALTH’

J: This song is almost the perfect advice I find hard to take myself – it’s so fun working on creative projects with a single-minded intensity but it’s so easy for that to be manipulated into being a standard everyone is held to. As if someone at their most manic is actually what the music industry finds exciting enough to support, but it’s also deeply risky – how many people can survive setting their lives on fire for the opportunity of gatekeepers giving you the thumbs up? Not many!! Also with our current environment, so many big players are just playing catch up to what artists are able to achieve by themselves with their direct community – so I feel more at piece with our small but dedicated audience than I ever did when thinking about reaching as many people as possible. We’re the weird niche thing now, and that’s actually made us a better band but also more sustainable in the long run.

H: We’ve had so many friends either pause or stop making music completely due to the demands of the industry, but this isn’t limited to smaller or indie artists. The backlash to artists cancelling or postponing tours due to health reasons, the sense of entitlement from fans and labels that makes our art feel like a commodity instead of uhhhh ART is dread-inducing. The thumping, driving beat and the disaffected drawl through the whole song feels so exhausted, and inescapable, the video in particular is something I’m proud of, it’s dramatic but honestly doesn’t feel completely removed from reality! It’s fucked how so many artists feel like the only solution to the burnout and exploitation of the music Industry is to leave altogether. Like we’re up against a machine that none of us can survive in, it’s frustratingggggggg as hell.

9. ‘MONSTER OF THE WEEK’

J: This song was actually the real START of the record, it was the moment of experimentation where we found what felt fresh to us. The combination of breakbeats, distorted guitars and hyperpop resampling techniques all landed together to sound both like the rave-rock of the 90s but also something that felt very new to us. We’d booked a writing trip away after wanting to do one for years, and this is one of the songs that came out of that in early 2023. We’d always liked the song, but there was a moment of realisation maybe a year or so later of “oh THAT is what we’ve been looking for!!!”. With this in tow, we were able to revisit all of our stuck ideas and give them new life, collect our most cohesive musical statement yet but also feel like we’ve finally found a sound that is almost exclusive to our band.

H: Another big political touchpoint on this album is technofeudalism and the enshittification of the internet. It’s no secret how terminally online Jono and I are, and watching the digital spaces we’ve loved become cesspits of ragebait and engagement farming has taken a mental toll on us. It’s exhausting to open up literally every social media app and have it make you feel hopeless and angry every single day- I got a dumbphone for a while to escape it all, which was sick but ended up feeling isolating in a different way. This is us venting our frustrations about everyone falling for inflammatory right-wing rhetoric day in and day out, unintentionally feeding the beast by engaging and trying to dunk on the people starting the fire!!! It’s lose-lose for us, so the song is sonically brutal because it’s the only way we can represent this gross cycle.

10. ‘BURIED!’

J: So many steps to get this perfected, but the constant guiding light was the song at the core of it being right. Getting to the finish point felt like it combined all the big rock guitar moments of the record with these synths that feel like a nod to PS1 era soundtracks, as if this song would have been in a racing game in some alternate future. Despite the 90s trappings, I always feel like this song is almost this record’s My Chemical Romance song – a weirdly emo undercurrent that’s driving an otherwise dance song.

H: This is one of the songs that really set the tone for the album sonically. It happened SO quickly tbh, I think we finished it mostly in one day? And then tweaked the production every few months until we felt it was right. The lyrics are some of my favourite we’ve ever written, the fabric/sewing metaphors in the first verse inspired by the kuffiyah, this piece of cloth being so simple but so powerful at the same time. We thought of the people in our life who have lost so much by speaking out for what’s right, being cast out from the communities they’ve known their whole life because they refuse to compromise on their morals. It shouldn’t have to happen, but it’s wild to be surrounded by people who would start their lives over for what they believe in or who they are as a person.

11. ‘CONSEQUENCES’

J: Keeping the piano motif rolling, this song felt like it finally landed when the balance of pretty and dark was struck. Harsh distortion and ambient piano backing, probably one of the most directly political songs on the record felt like a great fit. With the world feeling like it’s accelerating towards absolute hellfire – having something that’s representing that decline but also maintaining a human element keeps the “we can fix this if we try” element alive was important.

H: The bookend to Retaliate, how much further do we have to take things to see justice in our lifetime? We have a handful of people willing to doom our planet and society at large in pursuit of money, that will mean nothing to them when they’re dead, but literally risk our lives in the meantime. We wanted to write something that feels like a mob marching up to the billionaires with the guillotine at the ready, a promise that they will be remembered as the ones responsible for the decline of human life as a whole. It’s an explosion of distilled contempt, we know exactly who to blame so why haven’t we done anything? We even had to rewrite the lyrics to be more relevant as the AI bubble has grown more evil since our first draft of the song. Yikes.

12. ‘DESPITE EVERYTHING’

J: The farewell song! We’d had this song sitting in our Google Drive for a lifetime, written during the Melbourne lockdowns, and as the record started to take shape it felt like this was a way of saying “yes, shit is absolutely fucked, but maintaining a sense of self is actually one of the things that can help you keep fighting”. We always have this innate desire to look back at our younger selves with both regret and understanding in equal measure, so this song felt like a way of acknowledging that while also connecting to the current moment. We also snuck a bunch of references to our older songs in here as well, like there’s flashes of ‘Nine of Swords’ running throughout!

H: So Jono and I have been fans of this Youtuber called Super Eyepatch Wolf for a long time. His videos feel so in-line with our music in terms of how he allows himself to get emotional or passionate about whatever he’s talking about. During COVID lockdowns, I watched his analysis of the video game Undertale and the fan culture surrounding it, and we were so taken with this moment where the player character looks in the mirror at the start of the game, and the flavour text says “It’s you!”. Finding that same mirror at the end of the game has altered text that says “Despite everything, it’s still you.” It’s been kicking around in our minds for years, it affected me so much that we used it as a lyrical touchpoint before ever playing the game! Having played it now, it still means so much to me to look back on my life and the choices that lead me to this moment. No matter how many gripes I have with the industry, with politics, with society, I’m still here. We’re still here together, and our younger selves would be so proud of us. The second little easter egg was altering the last line of the song to reference a line from Baldur’s Gate 3, “still breathing, despite everything”. It felt like a beautiful full circle moment of accepting yourself as you are in this point in your life, and promising yourself to keep going despite everything

Further Reading

Cry Club Have Announced Their Third Album, ‘High Voltage Anxiety’

Cry Club on How to Navigate the Music Industry Post-Covid

Rachel Maria Cox: My Favourite LGBTQIA+ Pop Songs

The post Cry Club Unpack New Album ‘High Voltage Anxiety’ Track-By-Track appeared first on Music Feeds.

Smooth operators Jungle are bringing the groove back down under, locking in a run of massive Australian arena shows for March 2027 – and honestly, it’s about time we got another dancefloor takeover of this calibre.

Off the back of their breakout era with 2023’s Volcano (aka the album that gave us the unstoppable Back On 74 and scored them their first BRIT Award), the London trio are levelling up once again with a brand new record Sunshine, due August 14. Leading the charge is new single Carry On, already making waves after landing Radio 1’s Hottest Record – a strong early sign that Jungle’s signature blend of slick funk, neo-soul and euphoric pop isn’t slowing down anytime soon.

Jungle – ‘Carry On’

The Aussie leg of the tour will see J Lloyd, Tom McFarland and Lydia Kitto hit four major cities, bringing their full-scale live show – tight choreography, silky grooves, and all – to some of the country’s biggest stages in the country. If you’ve ever been lucky enough to catch Jungle live, you’ll know it’s less “gig” and more full-body experience. If you haven’t? Stretch beforehand.

Tickets are on sale now, with pre-orders of Sunshine unlocking early access – so if you’re keen to secure your spot in what will almost certainly be one of 2027’s sweatiest (and smoothest) dance parties, you know what to do.

Globally, the tour is a proper victory lap, with arena dates across North America and Europe – including a huge hometown show at London’s O2 – but let’s be real… the real magic will be happening right here when Jungle touch down next March.

Suss the details down below.

Jungle Sunshine 2027 Australian Tour Dates

• March 2 – Brisbane – Entertainment Centre
• March 4 – Sydney – Qudos Bank Arena
• March 6 – Melbourne – Rod Laver Arena
• March 10 – Perth – RAC Arena 

Tickets on sale now via Live Nation

Further Reading

Triple J’s Hottest 100 of 2023: 100-1

LAUREL Slows Down Jungle’s ‘Happy Man’ For Like A Version

GIG Reviews: Laneway Festival 2015

The post Jungle Announce Huge 2027 Australian Arena Tour + New Album ‘Sunshine’ appeared first on Music Feeds.

UK alt-rock shapeshifters Don Broco have officially unleashed their long-awaited new album Nightmare Tripping today – and, in true Broco fashion, it’s a full-blown genre-blender with zero regard for boundaries. From nu-metal swagger to euphoric electronica and gut-punch emotional left turns, the Bedford lads have doubled down on their rep as one of the most unpredictable (and frankly, unhinged in the best way) forces in modern heavy music.

Hot off their most recent Aussie visit in September 2025, the band are inviting us even deeper into the chaos with a special track-by-track breakdown from frontman Rob Damiani himself. Across the record, Nightmare Tripping wrestles with everything from identity spirals and emotional burnout to societal brainwashing and the search for meaning in a world that feels increasingly cooked – and now, you can hear the stories behind every twist, turn and breakdown straight from the source. Read his words down below, or stream the LP in full here.

DON BROCO – ‘True Believers’ [Feat. Sam Carter]

1. Cellophane

Rob Damiani: This song’s about realising that maybe you’re not as strong as you think you are, and that moment of realisation where you’re like, “okay, all these things I thought I could get through, maybe I can’t”. It’s that acknowledgement that shit’s going south. 

2. Disappear
   RD: This one’s about acknowledging the guilt that you’re feeling when you’re walking away or leaving someone who really needs your help, who’s really going through something terrible. But you know that by helping them through this, it’s also going to drag you down with them too. You’re feeling like you’re letting them down in the most brutal way, but if you don’t walk away, it’s also going to drag you down with them. It’s kind of about having an attitude of self-preservation, but obviously not feeling good about that, and the guilt that’s associated with that.

3. Somersaults
   RD:Somersaults is about reminiscing on those times when you were younger where you didn’t have the worries you do now, you’ve got those memories, probably rose-tinted memories, of the past where everything was just freer. The sun was always shining, you had no cares in the world, you were just there, living carefree, partying, feeling like you had all this optimism in front of you. And the song’s also about trying to do anything to just get a little taste of that feeling again.

4. Nightmare Tripping
   RD: This is about the blurring between living in the reality of a relationship falling apart, and the angst and the worry and the turmoil that brings then creeping into your dreams where you’re actually dreaming about it, and having nightmares about it. You’re going to bed thinking: I can escape from this horrible situation I’m in. But then you’re dreaming about it. And then those dreams obviously turn to nightmares and you don’t know if you’re awake or asleep, the reality between the two realms of existence are completely blurred. Some horrendous stuff happens in your dream and then you wake up and you’re like, “okay, that couldn’t have happened. That part couldn’t have happened in real life because it’s too fantastical”. You don’t really know what’s real between the two, and you’re trying to make sense of this relationship through the dream. But I think by the end of the song, you’re still finding hope that you are going to get through this nightmare in the same way you wake up from everything. There’s still this light at the end of the tunnel, but you’re going to get out of it eventually.

5. Ghost In The Night
   RD: Ghost In The Night is about the idea that time is not linear, the understanding that our perception of time is necessarily not what it is, and that we could be in the past and the present and the future all at the same time. And it’s about the experience of feeling like you might’ve encountered a ghost, not knowing what that ghost is. It’s also about feeling an actual positive, calming presence from an experience that I had where I thought, “okay, maybe this is a future version of myself or a future person I know or I care about who’s back in time to tell me things are going to be okay”.

6. True Believers
   RD: This song’s about the state of the world we’re in right now where you see far right politics creeping into the mainstream in such a disturbing and more frequent way. And it’s about the urge for people to not believe everything that they’re seeing on the news and what they’re told, and to question everything. We’re living in a world now where you don’t know what to believe, but still it’s very easy to get caught up in what the media are telling you and what certain people in positions of power are saying, the narratives that they’re feeding. It’s really a cry for help to try and break out of that and question everything you’re seeing, and really question what the motives are behind all of that so we don’t repeat history like we seem to be doing.

7. Euphoria
   RD: This song is about the concept of chasing that first time you do something. A lot of the time, the first time you ever have an experience of something, it’s always going to be there and your memory of that is the first and best. And it’s not always necessarily the way, but you’re always chasing that feeling again. You’re always hunting for that new feeling. And it can never be new again, once you’ve had it the first time, you never really get that back, but you’re always still looking for that. And whether that’s within the same experience, just hunting for that same experience which is completely unachievable, or then hunting for the next new experience, when you lose that, when you realise that that’s never going to happen again…it’s kind of gutting. But you somehow forget and never give up and keep trying to find it again.

8. Pacify Me
   RD: This song links into True Believers a little bit, and it’s more of an awakening song. More and more we’re seeing invasive manoeuvres by the powers that be to silence us and keep us locked in on our own little individual issues and battles. This one is about trying not to turn a blind eye to all the horrendous shit that’s going on in the world, because it’s very easy to look away and try to not be consumed by it. It’s so troubling to consume everything that is happening and going on in the news all the time, but if you can keep your eyes open to it and actually take in what’s happening and process that and find the strength in whatever little way possible to stand up to that; it’s a better path than just putting your head in the sand.

9. Swimming Pools
   RD: Swimming Pools is about those little white lies that you tell yourself, or that people tell you, to get the job done, or give you that kick up the ass you needed to do something. Sometimes when you’re feeling like, “I’m done with this, ” or, “I’m prepared to give up right now”…they might not always believe it, but they’ll tell you something to just give you a little taste of fantasy,  something to strive for. And it’s not necessarily true, but it actually can sometimes be just what you need to get you going and keep you on the right track. Sometimes you need that person to basically tell you that lie to keep you going. And then by manifesting it and looking for it? Then it actually can happen.

10. Hype Man
    RD: This is almost a song about being grateful about being in a band and having three friends there that can pull you out of hard situations. Just being in a band, and life in general, there’s so many ups and downs and you don’t always have the ability to pull yourself out of that on your own. Everyone needs someone now and then to be that person, to give them that energy. If you can’t create that energy yourself, which you can’t sometimes, you might not have that within you at that time. That’s when you need that hype man to be the person to help pull you out of that situation, whether it’s a friend or a family member. This song is that acknowledgement that you can’t get through life on your own the whole time. But it’s also to remind yourself to be that person for someone else as well. If you see that person, or if you’re ever in that situation where you think, “okay, this guy needs a little pep talk or a little bit of a push right now”, be that friend for someone else.

11. The Corner
    RD: There’s so many ideas in this song. It’s almost about questioning yourself and not knowing if the people you’re around and the person you’re with believes in you, and feeling not worthy of them and their time and their energy that they’re putting into you. But it’s also about being able to try and put those feelings to one side and just carry on and keep moving forward, whatever the cost, because everyone has those doubts now and then, and that’s fine to have those doubts in yourself. Any little glimpse of light or encouragement, you’ve got to hold onto that and push those self-doubts away, because everyone doubts themselves from time to time. And if you’re grateful to be with someone that you don’t think you’re worthy of, or in a situation that you don’t think you’re worthy of: you’re there for a reason and you’re there probably because you do actually deserve to be. So it’s also about trying to hold onto that and to find the strength in that.

Further Reading

Love Letter To A Record: Heartline’s Fraser Stiles On Don Broco’s ‘Amazing Things’

Hellbound II Lineup: Parkway Drive, Thy Art Is Murder + MORE

Hot Milk Announce Australian Tour For May 2026

The post Don Broco Take Us Track By Track On Their New Album, ‘Nightmare Tripping’ appeared first on Music Feeds.

Strap in, because Gold Coast heavy royalty Sunk Loto are back on their bullshit – and they’re bringing fresh tunes with them.

After lighting the fuse on their long-awaited comeback in 2022 (and promptly selling out tours like they’d never left), the early-2000s alt-metal icons have just announced a run of intimate headline shows this August… alongside news of a brand new single, Dead Shadows, landing May 8.

Sunk Loto – ‘Sunken Eyes’

Yep. New Sunk Loto. In this economy.

For the uninitiated (or the freshly converted), Sunk Loto were that band in the Aussie heavy scene’s formative years – sitting comfortably in the same sonic orbit as Korn, Deftones and Sevendust and helping define an era where riffs were chunky, feelings were loud, and everyone owned at least one wallet chain.

Then, in true rock’n’roll fashion, they vanished in 2007. Fifteen years. Gone.

Until they weren’t.

Their 2022 return hit like a freight train, with sold-out shows proving the appetite was very much still there – both from OG fans and a new wave of heavy disciples. And if 2023’s comeback track The Gallows Wait was anything to go by, the band haven’t lost a single ounce of bite.

Now, with Dead Shadows coming in hot (and their first music video since 2003 dropping alongside it – shoutout rising director Colin Jeffs), Sunk Loto are officially entering their next chapter… and they’re doing it properly.

“We’re going to be playing a spread of old and new, songs we haven’t played live in years, our new single and more from the forthcoming release. We can’t wait, see you there!”

Even better? These shows are set to be sweaty, up-close-and-personal affairs – no barriers, no frills, just pure chaos in some of the country’s most beloved rooms.

Suss the info below.

Sunk Loto 2026 Tour Dates

• Tuesday, August 11: Crowbar, Brisbane (public holiday eve)
• Thursday, August 13: Crowbar, Sydney 
• Friday, August 14: Corner Hotel, Melbourne

Tickets available via www.teamwrktouring.com

Further Reading

Hellbound II Lineup: Parkway Drive, Thy Art Is Murder + MORE

28 Days Announce 30th Anniversary Tour, Celebrating Three Decades Of Rippin It Up

Sunk Loto Review – Everything Old is Nu Again at Melbourne Reunion Gig

The post Sunk Loto Tease New Music + Announce Intimate 2026 Aussie Shows appeared first on Music Feeds.

Emo hearts, assemble.

Melbourne alt-rock faves The Beautiful Monument are hitting the East Coast next month for a pair of super intimate shows in Sydney and Melbourne, giving fans the first taste of their next era IRL.

The Beautiful Monument – ‘Cry About It’

The four-piece will take over The Burdekin (Sydney) on Friday 17 April, before heading home to The Evelyn (Melbourne) on Sunday 19 April – and yep, it’s giving cry in the pit then hug your friends after energy.

Even better? These shows will mark the live debut of their latest singles ‘Cry About It’ and ‘Dancing With The Buried’, so if you’ve been spinning those on repeat, this is your moment.

Their newest cut ‘Cry About It’ is already shaping up as a bit of a mission statement for the band’s next chapter – a punchy, defiant anthem taking aim at bigotry, entitlement and outdated ideologies, while still hitting that sweet spot between emotional release and absolute banger.

Produced by Chris Lalic (Windwaker), the track follows on from ‘Dancing With The Buried’, which hinted at a sonic evolution for the band, layering electronic textures over the heavy, emotive backbone fans already know and love.

After spending the past year writing and recording, the band say they’re stepping into this next phase with a renewed sense of identity and purpose:

“We’ve taken our time to ensure the next era of The Beautiful Monument is our best yet; not only for our fans, but for us as musicians,” the band shared.
“We’re tired of having to live up to a standard that people expect to see or hear from us. It’s time for our roots to show and to take pride in ourselves as both individuals and a unit.”

Known for their raw lyricism, cathartic live shows and beautifully bleak honesty, The Beautiful Monument have built a loyal following with songs that dive headfirst into grief, mental health, heartbreak and everything in between.

Peep all the deets down below.

The Beautiful Monument – April 2026 Shows

• Friday 17 April – The Burdekin, Sydney – TICKETS
• Sunday 19 April – The Evelyn, Melbourne – TICKETS

Tickets on sale now

Further Reading

The Beautiful Monument Talk Tackling Self-Doubt On New Single ‘Duerme’ & Plans For Their Next Chapter

Windwaker Chat Breaking All The Rules On Their New Album ‘HYPERVIOLENCE’

Hellbound II Lineup: Parkway Drive, Thy Art Is Murder + MORE

The post The Beautiful Monument Announce Intimate East Coast Weekender, Debuting New Tracks Live appeared first on Music Feeds.

If you’ve ever stared at the ceiling at 3am wondering whether texting your ex is a brilliant idea or the worst decision of your life – Ava Della Pietra has written the soundtrack for that exact moment.

The rising pop singer-songwriter and Broadway alum has returned with her new single ‘3am’, a moody, late-night breakup track that sits right in that tense emotional space between denial and the slow realisation that something’s already over.

Ava Della Pietra – ‘3am’

Built around the deceptively comforting refrain “nothing bad’s gonna happen at 3am”, the song dives headfirst into the kind of relationship that always seems to unravel in the quietest hours of the night – when emotions are loud, logic is quiet and your brain starts writing stories you probably shouldn’t believe.

As the track unfolds, Ava’s vocal gradually shifts from soft reassurance to something more resolute, capturing the exact moment where clarity cuts through the fog.

“‘3am’ is about an on-again, off-again relationship that always seems to unravel in the early hours, when emotions are raw and we’re at our most vulnerable,” Ava explains.

“It’s about the pull of someone who feels impossible to quit, and the clarity that finally tells you it’s time to walk away.”

The song’s origin story mirrors the theme almost perfectly. Faced with a difficult relationship decision one night, Ava recorded a voice memo after a friend suggested she “take the night and think it over” – a throwaway phrase that eventually became the spark for the song’s central hook.

The next morning, she began building the story around the idea that 3am is rarely the best time to make big life decisions.

The accompanying music video leans fully into that emotional limbo, placing Ava in a dimly lit, dreamlike world where moments seem to repeat in a loop – shadowy hallways, glances at clocks and quiet solitary scenes reinforcing the sense of being stuck in a cycle.

At just 20 years old, Ava Della Pietra is already carving out a pretty impressive lane as an independent pop artist. Before launching her music career she appeared on Broadway in productions of School of Rock and Les Misérables, and since pivoting to pop she’s released more than 20 singles, written over 150 songs, and racked up 37 million global streams.

She’s also currently juggling her music career with studies in the Harvard University–Berklee College of Music Joint Studies Program, where she’s balancing coursework in human evolution with songwriting (casual overachiever behaviour).

Following recent releases like Marionette, Single for Life and 2 Can Play, the new track shows a more introspective side of Ava’s songwriting – proving that sometimes the quietest moments can produce the most honest songs.

Stream it up above. Just maybe don’t make any major life decisions while listening to it at 3am.

Further Reading

Ava Della Pietra Turns Third-Wheel Pain Into Pop Gold With New Release, ‘Single For Life’

Olivia Dean Announces 2026 Australian Arena Tour

Lady Gaga The MAYHEM Ball Tour Setlist

The post Ava Della Pietra Has A Song For Your 3am Emotional Spiral appeared first on Music Feeds.