Into the Outside Box couples discord with fire in jazz-flavored Latin beats and harmonic oblivion, creating an eclectic offbeat sound that’s all their own. This emerging musical sensation, led by prolific songwriter, Claudette Visco, is setting the stage for a sonic revolution. With a no-nonsense and immersively engaging experimental voice and spirit, Into the Outside Box brings a cinematic quality to music that is just as unique as it is cathartic.
The Ontario, Canada based band, Arm’s Length, have signed to Pure Noise Records. With this, they announce details surrounding their sophomore album, ‘There’s A Whole World Out There’ out May 16 and release the first single “Funny Face”. The song can be heard here and the music video can be seen here.
“‘Funny Face’ is about how discouragement from a trusted loved one can shape who you are as a person and your overall outlook on life,” says lyricist/vocalist and guitarist Allen Steinberg. “It’s one of our darkest, heaviest tracks. Lyrically, I wanted to illustrate the narrative of being entangled in a toxic codependent relationship, whether romantic or familial. It’s a straightforward, desperate sounding song, sonically and lyrically.”
Building on the emotional rawness and introspection of their debut, ‘Never Before Seen, Never Again Found’, the new album finds the band pushing their boundaries, offering a deeper exploration of personal trauma, love, loss, and the resilience that emerges from navigating life’s darkest moments. Their debut album marked them as an indie band to watch, conjuring praise from writers at SPIN, Stereogum, Brooklyn Vegan, Exclaim!, and Loudwire among others.
Produced once again by Anton DeLost, who worked with the band on their previous releases, There’s A Whole World Out There marks a significant evolution for Arm’s Length. While Steinberg wrote the bulk of the material solo, the full band—guitarist Jeremy White, bassist Ben Greenblatt, and drummer Jeff White—helped bring these songs to life in the studio, with additional contributions from Bonnie Brooksbank (strings) and Alex Scalzo-Brown (piano).
Boston-based alternative country super group Other Brother Darryl are thrilled to share their latest single “Watch The Trees”, which comes ahead of their new album Roll Shine Roll, due to be available across music platforms on February 28th, 2025.
Free Throw has announced a special, deluxe version of their popular album ‘Those Days Are Gone’ being released on February 28 through Wax Bodega. The new version of the album will include the original songs, new versions of songs featuring Tades Sanville of Hot Mulligan, Nathan Hardy of Microwave, Pat Miranda of Movements, Christine Goodwyne of Pool Kids and Yvette Young of Covet with additional live versions of the original tracks rounding out the album, commemorating ten years of its release.
Last month, the band released the re-recorded version of “Hey Ken, Someone Methodically Mushed The Donuts ft. Tades Sanville of Hot Mulligan”. Fans can stream it now at this link: https://go.mhe.fm/ft_heyken
Today, the band released their latest single, “What Day Is It, October?” (Re-Recorded) ft. Nathan Hardy of Microwave“. Fans can stream it now at this link: https://go.mhe.fm/ft_whatdayisit
Nathan Hardy on getting to be involved with the re-release of ‘Those Days Are Gone’ and his friends in Free Throw: “I befriended the Free Throw boys in 2015 shortly after they released ‘Those Days are Gone’. I’ve had the opportunity to hang out and play shows with them many times since then and I have many fond memories of the times we’ve spent together.”
Gifted artist Errol Eats Everything has released his new self-titled 12-track, debut album. Errol Eats Everything is now available at all DSP’s.
Errol Eats Everything takes a bold, unfiltered dive into a wide range of subject matter; including the culture wars, knowledge of self, class, race, and everything in between, all the while navigating the highs and lows of everyday life. Delivered with the flair of an emcee whose identity resonates within every electric bar he spits. This filler-free album acts as a poignant follow-up to his recent NYAM! EP, which charted as high as #1 on the college radio charts for a reason. Some artists Rap. Other artists educate. Errol Eats Everything does both, and is not simply here to make another album- but to make history.
“This album is my world. Every track is a piece of my perspective, my humor, my experiences. Some songs will challenge you, some will move you, and still others will just make you want to vibe out” the savant-like wordsmith who has split his time over the years living in New York, Las Vegas, and Toronto, all the way over to Jamaica comments. “I wanted to make a record that people can feel in different ways-whether it’s knowledge, energy, or just straight up bars. I’m channeling our ancestors and building on the wisdom of our master teachers to galvanize the diaspora- I am here to change the world. I am unafraid.”
New listeners will be immediately drawn in by Errol’s lyrical depth and raw honesty that channels the lyrical wizardry of Jay Electronica, coupled with the mystique of MF Doom, the rich cultural resonance of Yasiin Bey, and the razor-sharp focus and firebrand energy of Killer Mike.
After a quick-listen to Errol Eats Everything, listeners, tastemakers and culture types will quickly recognize Errol Eats Everything’s unique voice, which draws inspiration from his musical influences, but also forges a new path. His thought-provoking rhymes and raw artistry serve as a timely, topical and much-needed voice of truth and empowerment for those navigating these turbulent times, oftentimes echoing civil rights icon Marcus Garvey’s call for the unification and upliftment of people of African descent everywhere.
Dexter and The Moonrocks, the unlikely heroes of West Texas who held the #1 slot at alternative rock radio for 7 straight weeks at the end of last year, today released “Ritalin” today. The angsty, distorted guitar-driven single underlines the “grunge” tone within their fan-coined “Western Space Grunge” brand. A “medicating” lyric video highlighting the song’s very personal tale of despair and addiction is also available here.
“Sad in Carolina,” the band’s first radio single from their aptly titled EP “Western Space Grunge,” took the former fry cook, oil field operator, concrete surface decorator and kids’ baseball coach from small town Texas to the top of the alternative rock charts, a spot they took over from Sum 41. The first band signed by Severance Records, Dexter and The Moonrocks’ song marked the first #1 for that label as well as its parent label, Big Loud Rock.
Last week, the band kicked off a spring tour with a show at Austin’s famed Emo’s. The dates cross the Southeast and Midwest US and run through the end of April, after which the band travels Charlotte, NC and Daytona Beach, FL for their next festival appearances at Lovin’ Life Music Festival and Welcome To Rockville, respectively. Last year, the band drew crowds at Austin City Limits Music Festival, Shaky Knees, and Hangout Festival. A full list of dates is below.
“Ritalin” follows the surprise success of the band’s live cover of Tyler Childers’ “Messed Up Kid,” which averaged 900,000 streams per week following its release last fall, with Whiskey Riff claiming the band proved that the song “was destined to be a rock song.” Alternative Press said of the band, “Noah Kahan and Zach Bryan inform the band as much as Soundgarden and Pink Floyd, which is reflected in their distinctive sound.”
AWOLNATION, the genre-defying alt-rock project led by Aaron Bruno, has released a live performance video for the song “Barbarian”, now making its rounds at Alternative Radio. The song is taken from the critically acclaimed latest album, ‘The Phantom Five’, released last summer. Fans can check out “Barbarian (Unplugged Live)” on YouTube at this link: https://youtu.be/-0MdGh1NFfQ
A single bundle released on January 31 features both a newly recorded acoustic version of the track, alongside the original version, allowing fans to experience the song in an entirely new light. Stream it here: https://orcd.co/barbarian
“I’ve always loved the idea of reinterpreting songs and exploring them in different ways,” says Aaron Bruno. “The acoustic version of ‘Barbarian’ brings a different kind of vulnerability to the forefront, and I’m really excited for fans to hear this new rendition alongside the original. It’s a unique way to experience the song from two very different angles.”
Variations of the lyric “We’re all gonna die” appear in many of the ten tracks of Tony Kamel’s upcoming album, but nothing about it is a bummer of a listen. In fact, the opposite effect works its magic as Kamel’s view of the world unfolds throughout the Houston-born artist’s sophomore effort. “Life is a big beautiful fight to the death,” he says. “Not a single one of us is left unscathed along the way.” Knowing that truth freed up the GRAMMY-nominated songwriter to look morality in the eye and have a good time in spite of it.
On April 18th, Kamel will release We’re All Gonna Live on Blue Corn Music, the cover of which sees its leading man battered and beat up but wearing a sly grin. “Each tune on We’re All Gonna Live is essentially a story about an inevitable struggle of one kind or another, but I tried to focus on the positive parts of those struggles,” he says. The literal interpretation of the album art—and most of the content of the music itself—is derived from a quote from Kamel’s grandmother Dolores: “Eventually, life starts to knock you around. You have to be ready to fight with a smile.” The songs find their optimistic, hopeful, and even celebratory tone in the face of difficulty because of her words. “Her wisdom taught me to go through the darkness and feel it head on until a light appears, then go towards that light no matter how dim it may seem,” says Kamel. “Finding that light is how I fight, how I grow.”
Emerging industrial electronic artist Staytus is back with the next chilling installment in her Twisted Frames series. Suburban Gothic, an eerie and introspective anthem inspired by Matthew Gray Gubler’s cult-classic horror film, is now available for pre-save and will be streaming worldwide on February 18.
Blending electro-industrial and nu-metal with haunting, deeply personal lyrics, Suburban Gothic takes listeners on a descent into paranoia, fear, and self-discovery. Produced by Matt McJunkins (A Perfect Circle, Puscifer) at Secret Hand Studios, the track is a sonically immersive experience, with layered synths, heavy guitars, and an unrelenting rhythm section that mirrors its dark, psychological themes.
A Soundtrack for the Haunted Mind
Staytus describes Suburban Gothic as both a personal exploration and a tribute to surreal horror.
“Suburban Gothic was inspired by the movie of the same name and its dark, surreal humor,” says Staytus. “The lyrics reflect themes of paranoia, fear, and confronting the things that haunt us—whether they’re real or in our heads. It’s about finding the strength to move forward, even when the past tries to pull you back.”
The lyrics paint an unsettling picture of an eerie, inescapable force creeping through the shadows:
“They hide in the shadows, they whisper in my head, they creep through the hallways, they hide beneath my bed.”
This haunting imagery is brought to life with aggressive industrial beats, distorted vocals, and ominous atmospherics, cementing Suburban Gothic as one of Staytus’ most immersive and unsettling tracks to date.
Upcoming Music Video Release
To complement the release, Staytus will unveil an official music video for Suburban Gothic on February 25, delivering a visually stunning and eerie interpretation of the song’s eerie themes.
Born from the frustration of classical music’s cutthroat, integrity-compromising industry, Sex-O-Rama is a satirical “Porn-Funk” band that has become a pop culture phenomenon. Formed by Carvin Knowles and collaborator Adam Pike after a disillusioning encounter with a conductor who suggested selling out for success, the duo joined forces with Oglio Records to create a humorous and rebellious take on 1970s adult film music. Their music, brimming with parody and sharp social commentary, challenges taboos while infusing humor into cultural critiques.
From their very first track, Sex-O-Rama—with their outrageous personas and funky grooves—captured the attention of the public, with their work even making its way into the iconic teen film American Pie. Despite boycotts and personal upheavals, their albums pushed boundaries and sparked debates, remaining a powerful voice in mocking conservative societal norms. With a legacy built on satire, humor, and irresistible funk, Sex-O-Rama continues to evolve, capturing the strange crossroads of cultural shifts and societal critique.
Knowles says, “From the very beginning, in the late 1990s, Sex-O-Rama has always been a kind of postmodernist prank. It’s not as if we didn’t leave clues around. Our claim to have been the “house band” for the “Adult Film Industry” in the 1970s should have been a big clue, since it was very well known that Frank Zappa and The Mothers of Invention earned that title, and we were clearly not Zappa’s band. But people still believed it, and they reacted with outrage to our funky grooves.”
Email:neill@outloudculture.com
