As SNK unleashes FATAL FURY: City of the Wolves, it also sets the stage for one of the most ambitious soundtracks in gaming history. Powered by an all-star cast of electronic music titans, the official soundtrack bridges the energy of the club with the high-stakes intensity of battleground. At the heart of the action is none other than multi-platinum global sensation Alan Walker, whose newest single ‘Mind of a Warrior’ with rising pop sensation Sorana lands alongside the game’s global launch.
Iron Shiek’s new album, Circle Of Iron, is now available via 1332 Records/Iron Chamber Records and includes collaborations with Method Man, Redman, Inspectah Deck, Masta Killa, Papoose, Kool G Rap, Planet Asia, Sadat X, Lord Jamar, Canibus, Cappadonna, Capone, Rustee Jux, Big Noyd, Tragedy Khadafi, Wise Intelligent (of The Poor Righteous Teachers) and more!
Iron Shiek is a producer who debuted producing artists in the Wu-Tang and Infamous Mobb camps, including Cappadonna, Big Noyd, Infamous Mobb, Killarmy, Capone (of CNN), Sheek Louch and has produced tracks that featured guest appearances from 50 Cent and Tony Yayo.
Shiek was also signed to Wu-Tang management and Protect Ya Neck as a producer and where he solidified himself as a member of the Wu-Tang family. It is also what inspired him to form his own company—Iron Chamber Entertainment.
Circle Of Iron is a celebration of true and raw Hip-Hop, with Shiek crafting beats and curating rhymes from some of the best spitters in the game; and is destined to be a defining moment for fans of all ages.
Iron Shiek’s new album, Circle Of Iron, is now available via 1332 Records/Iron Chamber Records.
Benny The Butcher re-emerged to hold you down for the summer with Summertime Butch, which was his first solo-project since the Grammy-Nominated and Emmy-Award-winning artist delivered his Def Jam Recordings debut Everybody Can’t Go; which was produced in its entirety by The Alchemist & Hit-Boy and featured appearances from Lil Wayne, Snoop Dogg, Jadakiss, Babyface Ray, Conaway The Machine, Westside Gunn, Peezy, Stove God Cooks and others.
Following a streak of critically acclaimed releases, Benny is back and re-activated in summertime mode, as he announces his new project, Excelsior, which will be released on 5.2.25 (Excelsior = ever upward, or higher, and for those who didn’t know, it also serves as the state motto of New York).
In addition to announcing his new project, Benny also released the project’s first single, teaming up with Boldy James for “Duffle Bag Hottie’s Revenge,” which is now available at all DSP’s. You can watch the new video for “Duffle Bag Hottie’s Revenge” below.
With Excelsior, Benny continues to cement his place as one of the most important and vital voices in the culture today.
The streets are watching. The culture is listening. All the while, Benny continues his evolution. Excelsior!!!
Benny The Butcher’s Excelsior will be released on 5.2.25.
Following the success of their recent single “Radiance,” which broke into the Top 20 on Active Rock Radio, Seven Hours After Violet — the electrifying project helmed by System of a Down bassist Shavo Odadjian — unveils the powerful new music video for “Float,” released just in time for May’s Mental Health Awareness Month.
Watch the Official Music Video for Float, which premiered exclusively with Revolver Magazine, here.
“Float” is a standout track from Seven Hours After Violet’s self titled debut full length album out in October 2024. Directed by Glen Matheny (Four Four Entertainment) and co-directed by Shavo Odadjian, “Float” arrives as a deeply contemplative and metaphorical visual exploration of mental health struggles.
Serving as both a reflection and a lifeline, the video captures the weight—and occasional peace—of being submerged in the emotional currents of anxiety, depression, isolation, and hope.
“The song speaks to the threat of suicide, but more than that, it’s about hope—the push and pull between pain and recovery,” shares Shavo. “We want this track to be a beacon for anyone battling those inner wars.”
After last week releasing their final studio album Face Down In The Garden, acclaimed indie-pop duo Tennis today unveils a video for album opener “At The Apartment” (Live at The Apartment). Dreamily draped in beige and white, the entire room is wrapped up as if the movers are about to show up and take everything away. A simple, yet stunning live performance video, Tennis are ready to move on — Watch.
“We brought ‘At The Apartment’ to life with the help of backing vocalists Molly Burch and Katie Iannitello (Beauty Queen),” shares Alaina Moore. “We have worked on records together in the past and are big fans of their voices. I dreamed up this live video specifically as an excuse to sing with them.”
Released via their own label Mutually Detrimental, Tennis’ seventh and final album marks the final recordings from this incarnation of Tennis. Offsetting intuitive melodies with unusual arrangements, the new album sees the duo returning to their roots; making music that both feels familiar but also resists convention. Tennis has fully blossomed and leaves listeners with an LP that is unquestionably their most fully realized effort and a natural ending point.
Husband and wife duo Patrick Riley and Alaina Moore announced Tennis’ indefinite hiatus earlier in April with the release of “12 Blown Tires.” Bittersweet and cathartic, Moore explained the song and their decision in saying:
“I had the sense of distilling the past 15 years into four minutes of music. It felt like the end of something, though I wasn’t sure what. Patrick and I spent most of our 20s and all of our 30s focused on Tennis. It has been the most joyous, bewildering, challenging, and humbling experience. After finishing Face Down In The Garden, it became clear that we had said everything we wanted to say and achieved everything we wanted to achieve with our band. This will be our last studio album, at least in this configuration as Tennis. We are ready to pursue other creative projects and to make space in our lives for new things. In that light, the upcoming tour feels more poignant, like a concluding thought. These two kids from Denver who only ever dreamed of playing a few house shows are very fulfilled. Perhaps we’ll see you on the road. As always, thank you.”
Clap Your Hands Say Yeah are continuing to commemorate the 20th anniversary of their landmark self-titled debut with today’s premiere of the album’s first-ever official music video, “The Skin of My Yellow Country Teeth,” co-directed by award winning filmmaker David M. Helman (IDLES, Vince Staples, American Football) and Daniel Henry (Julien Baker, Foster the People, Kurt Vile). Given carte blanche by Clap Your Hands Say Yeah founder and frontman Alec Ounsworth, the clip is a “celebration for the incompatible and the base models of all things, human and machine” says Helman, represented by a local hero who is a strip mall computer repairman (played by Eric Rahill). The protagonist gets glimpses into the customers’ lives while he tries to fill his own life with beautiful moments.
“I feel like there is a duality between the new and the old in the song – New York and West Virginia,” says Helman, who collaborated with Ounsworth on his 2014 album Only Run. He adds, “Electronics felt like real-world portals to jump seamlessly through time, to tap into virtual memories in a narrative way.”
Helman brought on co-director Daniel Henry, a fellow enthusiast for detail.
Henry reflects, “Once we knew we were planning on swirling the digital lives of the customers on screen, we both took it as a personal challenge to fill this video to the brim with references from growing up on the internet.”
While most music videos are meant to add imagery to a song, this clip flips the script and has the track act as more of a soundtrack to the visuals. The key to making this concept successful had everything to do with the creative liberty Ounsworth gave to the directors.
“It’s not often an artist or project lets us run wild with the concept and inject it with all our favorite things – Alec rules,” says Helman.
“Twenty years ago, I stubbornly refused many music industry tools, one of which was music videos,” says Ounsworth. “My reasoning was that the listeners should be able to create their own visual accompaniment to the songs rather than have something ostensibly pushed upon them. The result was that no official video was ever made for the first album.
“I have since softened my stance on this after having considered the possibility that a music video might instead be thought of as a collaboration between artists (musician and director) who have mutual respect for one another’s work. In other words, I am happy to now let go and allow David Helman (whose work I sincerely admire) to put his and Daniel’s own interpretive stamp on ‘The Skin of My Yellow Country Teeth.’”
Los Angeles alt-rock band Starling is excited to announce their new EP, Forgive Me, out June 27, 2025 via San Antonio’s Sunday Drive Records. Heralding the announcement is “I Can Be Convinced,” a hard-hitting but sickly sweet departure from their sparse and airy dreamscapes. Today’s release sees the four-piece examine an all-consuming love and the comfort one can find in confinement. Soaring guitars, blistering hi-hats and bandleader Kasha Souter Willett’s saultering vocals push the song towards sonic chaos.
“Smothered. Wrapped up in a warm blanket so tightly you cannot move. A song written about needing stillness, to be told no, to be confined all in a confused love,” Starling say. “Kasha did not intend the song to take such an upbeat direction when she brought it to the band. Although it is a sad and yearning song, the beat and arrangement made this song our lead single.”
Following the release of Antibloom, revered rock group Silverstein returns with Pink Moon: the second chapter in their ambitious 16-song double album, conceived and recorded during a transformative stretch in the high desert of Joshua Tree. The album, set to be released on September 12th via UNFD, is available for pre-order / pre-save now.
Along with the announcement comes lead single and music video “Negative Space”, offering fans their first glimpse into Pink Moon. Following the critically acclaimed Antibloom, this new track pushes everything further: the chaos, the emotion, the dynamic contrast. With its relentless pace, shifting moods, and massive hook, it captures the disorienting feeling of spiraling out, only to land in a crushing breakdown. The video, a surreal and unhinged sequel to the fan-favorite “Don’t Let Me Get Too Low”, was shot guerrilla-style across Las Vegas and delivers on every level. This is Silverstein at their most explosive and cinematic yet.
“I think the coolest thing about ‘Negative Space’ is how off-balance it makes me feel. It’s almost like it’s slightly too fast so it’s always trying to catch up to itself. That, combined with the fact that it’s always switching vibes and using contrasting tones makes for a really interesting 3 minutes,” shares guitarist Paul Marc Rousseau.
Bedolina is spearheaded by the Philadelphia-based Ken Gould, who crafts eerie experimental rock that furthers the band’s artistic evolution. Gearing up for the release of their second album Sun and Flamingos, Bedolina once again enlisted the collaborative efforts of Miner Street Recordings producers Brian McTear and Amy Morrissey (The War on Drugs, Kurt Vile, Sharon van Etten) and engineer Joe Lambert (Thievery Corporation, The Black Crowes, Cracker) Throughout the upcoming LP, themes of surrealism, the ever-lurking future, and modern contradictions are studied in depth, creating a palette of diverse and digestible tracks.
dance music powerhouse ACRAZE unleashes his latest sonic masterpiece — a playful, yet turbo-charged spin on the ringback tone of a phone call. Aptly named for its clever sampling of dialtones, “Telephone Ringin’” bursts with unmistakable ferocity, officially arriving on Friday, May 2, 2025. With a penchant for bold reinvention, ACRAZE returns with yet another trailblazing take on an already familiar sound, setting the tone with an opening akin to picking up a real phone call. ”Telephone Ringin’” instantly dives into the deep bassline and continuous ring, building tension as the song takes on a brooding, almost sinister sound. As the
beat drives the track forward through varying degrees of intensity, ACRAZE showcases his distinct creative vision with the witty interplay between dialtone and ringtone, giving the track a sense of urgency, as if an important caller is on
the line.
Characterized by a deep resonance and dark undercurrent, the track plunges listeners into the depths of ACRAZE’s rebellious, irreverent realm where his intense sound becomes irresistible on the dancefloor. Tapping into the familiar restlessness of waiting, ACRAZE transforms everyday tension into art – “Telephone Ringin’” arrives as a high-octane escape from the digital grind, taking listeners straight to the dancefloor with relentless energy.
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