Legendary Italian hardcore band RAW POWER return with a raw and unfiltered document of their live intensity: the historic performance recorded at CBGB in New York in 1998, during their US tour in support of “Reptile House”.
This release captures the band at one of the most explosive moments of their career, delivering a fierce and uncompromising set on one of the most iconic stages in hardcore and punk history. The recording channels the full urgency of RAW POWER’s sound, driven by relentless speed, razor-sharp execution and an incendiary stage presence that leaves no room to breathe.
The setlist blends tracks from “Reptile House” with timeless classics taken from “Screams From the Gutter”, offering a comprehensive snapshot of the band’s enduring impact and unmistakable identity. The result is a powerful testament to their role in shaping and spreading hardcore worldwide, as well as a vivid representation of their lasting relevance.
This historic live recording is released via Time To Kill Records, in a strictly limited edition of 300 copies, available from May 11th 2026.
After returning in 2025 with the singles “Nightcrawling” and “You Can Be So Cruel,” and signing with indie label FLG, London indie rockers THE HOWLERS are back with their new single “Viper.” The newest offering comes alongside the announcement of their second album, ‘Heavy,’ due out on October 9th — a bold, visceral statement of intent as the band enters their most defining chapter yet.
Driven by pulsing riffs, a relentless rhythm section, and raw, urgent energy, “Viper” captures THE HOWLERS at their most immediate — indie rock ’n’ roll rooted in tension, desire, and consequence. It sets the tone for ‘Heavy,’ a record that sees frontman Adam Young push his songwriting into darker, more impulsive territory.
“‘Viper’ speaks to an experience of being totally drawn towards someone even though you can see the red flags — the desire for all of us to willingly make bad decisions for the thrill of what comes next, regardless of consequences,” says Young. “You’re lost in the moment together. But no matter how much you kid yourself into believing the Bonnie & Clyde fantasy, they will always cause you pain in the end.”
Watch the Official Video for “Viper”:
Following a period of transition at the end of 2024, THE HOWLERS entered a new phase, with frontman Adam Young rebuilding the project as a two-piece alongside drummer Toby Richards — a shift that redefined both the band’s sound and creative direction, bringing a renewed sense of focus and identity.
That reset came off the back of a breakthrough year. Their self-funded debut album ‘What You’ve Got To Lose To Win It All’ landed to widespread European acclaim, breaking into the UK Independent Breakers Charts Top 10 while securing multiple positions across independent, vinyl and physical sales charts. Radio support followed from BBC Radio 1, BBC 6 Music, Radio X and Absolute Radio, alongside international backing and editorial playlisting across Apple Music and Spotify.
That momentum translated directly to the stage. A sold-out 18-date UK headline tour established the band as one of the country’s most exciting live acts, followed by a European run that saw them sell out shows across eight countries — road-testing new material that would ultimately shape what came next.
Where that debut was defined by grief and personal loss, ‘Heavy’ emerges from a very different place. Driven by the tension between desire and consequence, recklessness and reality, it’s an album lit by the pull of the night, the thrill of impulse and the cold clarity that follows.
Written and produced alongside long-time collaborator Chris Ostler (Black Honey), the record deliberately sidesteps traditional studio methods. Instead, it was built remotely — with demos, ideas and reworked compositions exchanged across digital platforms — stripping everything back while pushing each track to its strongest form. Only in the final stages did the band enter rehearsal spaces to capture live drums, grounding its more experimental edges with a raw, physical energy.
Young adds:
“This album is those late night experiences, the after dark conversations, late night phone calls, the seductive nature of impulsiveness that seems so alluring and losing yourself in the addictive nature of recklessness — but it’s also the mirror in the morning, the wake up call, and the harsh reality of knowing those feelings won’t always last. It’s the moment you find yourself again.”
For a band that has always worn its honesty as a badge of honour — and built a fiercely loyal following on the back of it — ‘Heavy’ feels like the album THE HOWLERS were always moving towards. With an extensive UK and European headline tour to follow, 2026 is shaping up to be the year they fully arrive.
Any Given Sin return with their new single “Lifeline,” the first track from their new studio album coming later in 2026. The band shares, “Lifeline is a song about betrayal; and the sometimes hopeless feeling that’s associated with that. And how in most cases forgiveness is the only real way to peace. We feel this track is highly relatable to most of the inhabitants of this planet, and no doubt many other worlds as well.”
Hundreds of seedy budget motels sit alongside the endless highways of North America. Between long haul drives and sweat-soaked gigs, you might find Any Given Sin’s vocalist Victor Richie and guitarist Mike Conner in one of these old hotel rooms toiling away over lyrics when they should be sleeping. Instead of getting rest, the musicians will confront life’s darkness and their own demons in the dead of night, sharing a piece of paper with thoughts and confessions scrawled in the form of verses and choruses. Victor will write a line, and Mike will answer with his own until a song slowly but surely takes shape. These nights give the Maryland band—rounded out by bassist Rich Stevenson and drummer Mike Showalter—an edge of their own. It’s evenings like this that have invariably informed their second full-length album coming later this year.
“The lyrics definitely happen in seclusion,” affirms Mike. “Victor and I have spent many nights in motels just writing words on paper until 3am, no matter when we need to wake up. He’ll write a cool line and show it to me and ask, ‘What do you think?’ I’ll share my own idea. It’s a long and meticulous process, but it’s really open. We’re speaking truthfully to one another. We’re dealing with darker subjects like sadness and depression. That’s usually what comes out in almost every song.”
This unfiltered honesty has defined the group’s sound since their emergence with 2015’s independent Forbidden EP. Gaining a buzz, they earned a bona fide underground hit with “Dynamite.” To date, it has eclipsed 13 million streams, but it also marked their first radio success, surging as SiriusXM’s “#1 Most-Spun Song on Octane’s Accelerator,” breaking the Top 5 of the popular BIGUNS Countdown, and closing out 2019 in the “Top 30 Songs of the Year.” From there, the guys notched two successive #1 entries on SiriusXM with “Insidious” and “Another Life,” which has clocked 10 million-plus streams thus far. Everything paved the way for the arrival of their debut LP, War Within, in 2023. That debut album has streamed over 70 million streams worldwide, with an additional 20 million coming from their cover of the Cutting Crew classic, “(I Just) Died In Your Arms Tonight.”
“It took a long time for us to make it this far,” Mike leaves off, “and we’re going to kick it in the ass until we can’t do it anymore. I’ve gotten a lot of messages from people who will tell us our songs got them through hard times. We hope to bring listeners comfort.”
TodoMal are releasing “Humanised Gods” as the second single from their upcoming third album Graveyards of Joy. The song bears all the marks of the Spanish duo: solemn doom metal, strong melodies and cinematic atmosphere.
Where the first single from Graveyards of Joy, “Point of Coalescence”, opened on dense, uncompromising ground, “Humanised Gods” offers a different kind of weight. Mid-tempo and melodic, the new single draws its lyrical material from the excess and spectacle of the Claudian dynasty in ancient Rome: emperors regarded as demi-gods, figures onto whom desires and projections were freely cast. From there, the song widens its frame to address something more immediate: the hubris of contemporary individualism, the cult of the self, the particular vacancy that follows when admiration tips into deification. It is, within the arc of the album, a moment of relative relief, the music direct and unguarded in a way that the record’s darker corners are not.
Graveyards of Joy is the closing chapter of a trilogy that began with Ultracrepidarian (2021) and continued with A Greater Good (2023). Written in solitude following personal tragedy, the album draws on the landscapes and ghost towns of rural eastern Spain, a terrain the band describe as raw, honest and untamed. It channels grief, anger and hard-won hope through a sound rooted in the slow-burning weight of classic doom and dramatic rock. Vast Hammond organ-driven passages give way to desolate folk; strings with Morriconian openness sit alongside heavy, anchoring riffs. The band draw on a wide range of reference points, from the orchestral sweep of Vangelis and the warmth of Deep Purple to the dramatic sensibility of Tindersticks and Nick Cave, without losing the solemnity that defines TodoMal.
Catch TodoMal on tour this summer, including dates with Evoken.
TodoMal Graveyards of Joy 2026 European Tour
4 July – Viveiro, ES @ Resurrection Fest 24 July – Tolmin, SI @ Tolminator Fest 30 July – Paris, FR @ Le Klub* 31 July – Rouen, FR @ Fury Defendu* 1 August – Diest, BE @ Club Hell* 2 August – Rotterdam, NL @ Baroeg* 3 August – Hamburg, DE @ MS Stubnitz* 5 August – Berlin, DE @ Neue Zukunft* 6 August – Schlotheim, DE @ Party.San Open Air* 7 August – Karlsruhe, DE @ Die Stadtmitte* 9 August – Dresden, DE @ Chemiefabrik* 10 August – Prague, CZ @ Subzero* 11 August – Bratislava, SK @ Pink Whale 18 September: Barcelona, ES @ Sala Boveda 25 September: Madrid, ES @ Dark Echoes Fest (w/ Draconian, Dødheimsgard) 26 September: Auzas, FR @ L’Homme Sauvage Festival *with Evoken
Tracklist:
Mare Ignis (05:14)
Lucid Nightmare (04:31)
Point of Coalescence (05:04)
Misericordiah (02:50)
Unholy (04:22)
Deliverance (07:25)
Humanised Gods (03:54)
For Mercy (03:02)
Graveyards of Joy (06:51) Full runtime: 43:15
TodoMal came to life in 2020, conceived by Anglo-Spanish musician and composer Christopher B. Wildman and musician, composer and producer Javier Fernández Milla: two veteran multi-instrumentalists of the Spanish underground scene whose careers span a wide range of projects and styles. A product of pure serendipity, TodoMal represents a deeply personal fusion of the solemnity of traditional doom metal and the expansiveness of space rock, interwoven with nuances of ecclesiastical music, classic hard rock and cinematic soundscapes.
Their debut album, Ultracrepidarian (2021), evokes the placid yet desolate moorlands of their base in northern Alcarria and the region of Matarraña (Teruel), two emblematic landscapes of Spain’s so-called “emptied lands.” With A Greater Good (2023), the duo crafted a collection of what they describe as “dark songs,” evolving into a complex, dense and unclassifiable album that appeared on several year-end lists and sold through its initial pressing. Fuelled by this momentum, they expanded into a five-piece live ensemble, joining forces with Javier Félez (guitar; Teitanblood, Graveyard, Balmog), Javier “Bud” Martínez (drums; Dejadeath, Jade, Ktulu) and Cecilia Tallo (keyboards/vocals; Maud the Moth).
Graveyards of Joy is the third album and the closing chapter of a trilogy. Written in solitude following personal tragedy, it channels grief, anger and hard-won hope into nine tracks of slow-burning, widescreen doom. The music breathes: vast Hammond-driven passages give way to desolate folk, Morricone-like strings open onto dusty cinematic plains, and heavy riffs anchor songs that never lose sight of melody. A DIY record of striking emotional depth and modern, alternative edge.
Recording Line-up: Wildman – Guitars and Vocals Mile – Bass and Vocals Javi – Guitars Bud – Drums Cecilia – Synths and Vocals
Production Credits:
Recording Studio: Trinitat-Montseny / 7th Middle Street / Moontower Studios Producer: Javier Fernández Milla / Christopher B. Wildman; assisted by Javier Félez Rodríguez (drums recording and guitar engineering) Mixing: Javier Fernández Milla at Trinitat Montseny Mastering: Jaime López Arellano at Arda Recorders (Portugal)
The late-great Steve Cropper had another ace up his sleeve before his tragic passing in December 2025. To anyone who knows the roots and branches of American music, the loss of The Colonel was seismic. As guitarist, songwriter, producer and engineer – not just for the iconic Stax record label but on a forest of sessions and solo releases – the Tennessee soul man was the DNA that coursed through the post-war era, his fabled right hand setting the pace of rock ‘n’ roll for 60-plus years.
The legendary musician was working on this new record, and with Watching The Tide, he has left a beautiful gift to the world, featuring an all-star cast including Eric Clapton, Brian May, Billy Gibbons and Ronnie Wood.
Steve Cropper & The Midnight Hour will release Watching The Tide on 28 August via Provogue/Artone Label Group. Listen to the first song, ‘Ticket First’ featuring Eric Clapton HERE.
The wider world assumed 2024’s star-dusted, Grammy-nominated Friendlytown was the full stop on this most seminal of careers. Little did we know this towering figure had one last play in his lifetime. “Making music was Steve’s greatest joy,” explains Jon Tiven, the acclaimed songwriter/producer who first met Cropper in the early-’70s, became a close friend and helped ignite his post-millennial solo career. “Steve was so encouraged by Friendlytown. He was adamant he wanted to do another record.”
Appropriately for an album whose title references the guitarist’s most famous co-write – Otis Redding’s 1967 standard ‘(Sittin’ On) The Dock Of The Bay’ – Watching The Tide saw Cropper roll back the years. Writing alongside Tiven and Midnight Hour vocalist Roger C. Reale – then tracking at Nashville’s historic RCA Studio C with a crack-squad band including Ana Grosh (vocals), Nioshi Jackson (drums), engineer Eddie Gore (keys/percussion), and a wishlist of guitar heroes (Eric Clapton, Billy Gibbons, Brian May, Ronnie Wood) – the 83-year-old sounds ageless and energised.
Talking about ‘Ticket First,’ Tiven says, “Steve had a joke about a woman who rubs a magic lamp. The genie comes out and says, ‘You’ve got one wish’. The woman says, ‘I want to win the lottery’. And the genie says, ‘Sorry, you’ve got to get a ticket first’. When Roger and I heard that, we said, ‘Oh, that’s a song title’. I sent out some emails to guitar players I knew who had a great affinity for Steve and two days later, I got an email back from Eric Clapton’s manager, saying he’d be in Nashville for a concert and could we do it then. He did, I believe, 11 takes on guitar. At the end, Steve and I looked at each other and said, ‘Man, you just turned the song inside out. I think we’re gonna have to give you a writer’s credit’. Eric looked pretty stunned by that. And he said: ‘Well, anything to get my name next to Steve Cropper’s…’”
The A-list cameos continue with the valedictory ballad, ‘My Angels Are Calling,’ featuring Brian May and Billy Gibbons (“Brian is singing from Steve’s point of view,” says Tiven of the Queen man’s touching lyric, “looking back over his life and his road. It’s very powerful”). ‘Until Now’ makes stellar use of Rolling Stone Ronnie Wood’s stinging slide, before Tiven himself takes lead guitar for the brassy strut of ‘Blood From A Stone’ and ‘Here & Gone.’ The latter is also one of the showcases for upcoming vocalist Ana Grosh (who features prominently on ‘Stand Right Here’ too). “We met Ana at the Grammys and I heard immediately that this 21-year-old had something,” recalls Tiven.
He might have been indomitable as ever in the studio, but as Tiven and Gore set to work on post-production, nobody could deny that Cropper was running out of time. Yet even as the great man slowly bowed to his medical issues in late 2025, he clung on to hear the mixes of Watching The Tide (10 of the 11 tracks were completed before his death, with only My Angels Are Calling still a work-in-progress).
“I finished the mixes about a week-and-a-half before Steve passed and we brought a CD to him at the medical facility,” remembers Tiven. “He called me the night before he passed to tell me how much he loved it. He was playing it for everyone who came to visit him, telling them it was the best record he’d ever made.”
It’s a huge statement for a musical colossus who towered over the rock ‘n’ roll age. Yet to play this posthumous release is to hear an all-time-great still at the top of his game, blending the burning passion of youth with the wisdom of an old master. Steve Cropper might have left us, but with Watching The Tide, the ripples continue to spread. “I know this record provided great joy to Steve in the last year of his life,” says Tiven. “And I’m so glad he was able to have this great creative burst that was so strong…”
Tracklisting:
1. Tandoori Chicken 2. Ticket First ft. Eric Clapton 3. My Angels Are Calling ft. Brian May & Billy F. Gibbons 4. Until Now ft. Ronnie Wood 5. Blood From A Stone 6. Here & Gone ft. Ana Grosh 7. It’s Gonna Get Worse 8. Down & Out 9. Stand Right Here ft. Billy F. Gibbons & Ana Grosh 10. Tipoff To The Ripoff 11. House of Cards 12. Tandoori Chicken Part 2
Today, transatlantic pop-rock quartet AS IT IS proudly releases their new single ‘Do You Remember?,’ the latest track from their forthcoming self-titled album, out on July 17th via FLG.
Speaking on the reflective track, a live favorite in-waiting, frontman Patty Walters shares:
“‘Do You Remember?’ is about the countless nights we’ve spent retelling all our favourite stories from the road, the studio, and everywhere else that music has taken us over the years. When we were on top of the world and when we hit rock bottom, we went through every moment of it together, and the memories and the friendships are something we cherish every day. We wrote the song with Max Helyer (You Me At Six), someone who knew exactly what we wanted to say and capture in a song, both in its lyrics and its heart, and ‘Do You Remember?’ wouldn’t be half the song it is without him.”
Max himself adds:
“Working with the lads was a real pleasure. I remember when Patty and myself spoke about doing something at a Marshall writer camp in early 2025, a couple of months later, we were in his studio together writing this song. We shared stories of being on tour with your brothers and what AS IT IS have been through as a band, and I thought, hey, why don’t you write about that side of it? We wanted it to be a triumphant celebration of where they have been and what they’ve gone through together, but most importantly, coming back and doing it for the right reasons.”
Of the accompanying music video, Walters comments:
“It was a blast filming the music video in a living room in Brighton, surrounded by partners, friends, and so many of the fans who have supported this band since the very beginning. We love this song so much, and it’s always special getting to share something unreleased with a handful of people before it officially drops. Once the video was wrapped, we played a headline set for everyone who came down, and it was a show I’ll absolutely remember forever. The band’s first-ever show was in a similar living room, no more than a ten-minute walk away from where we shot the video, and it felt so special to, nearly 14 years later, reconnect with the band’s most humble of beginnings, and to know that the video itself was becoming one of those same stories that inspired us to write this song in the first place.”
To create art for art’s sake is as pure an intention as a band can have. Writing a song that may never even see the light of day, but speaks to the very reason that you want to create in the first place. Putting joy, connection and fulfilment above anything else, and reaping the rewards that come from pushing such human endeavors. It’s a noble and selfless position to place yourself in, one that sits at the very root of why we all fall in love with music in the first place.
For AS IT IS, it was an absolute necessity to do things like this.
It was the only way that they could even attempt to recapture what once brought them together 13 years ago. A moment in time where Patty Walters, Ben Langford-Biss, Ali Testo, and Patrick Foley could reconvene for the first time in a long time, look back on the highest highs and lowest lows they have experienced together, and draw hope and inspiration from them once again.
From that, they have created their new upcoming self-titled album, the first body of work made as a quartet in eight years. A record that finds them at the most comfortably bold they have ever been, delivered via the most beautiful brand of collective catharsis. However, to even consider reaching this sort of solace, a different kind of work needed to be done first.
For Patty, that meant finding a purpose outside of the band. For so long, he had felt like he had no choice but to be in AS IT IS. That, without it, there was nothing else. To listen to 2022’s‘I WENT TO HELL AND BACK,’ the band’s fourth full-length album and only piece of work to not feature Ben or Foley following their respective departures in 2019 and 2020, is to hear Patty in fight or flight, unfurling some seriously dark thoughts and making music that bleak because it felt like it was all that he had.
But in stepping away from not just the band but music altogether around the birth of 2024 to seek professional help to exorcise demons, muddle through trauma and realize that there is a life beyond music, he was able to realize that he can be all of the things that he wants to be. He just needed to relocate who he was within them, not who he thought he had to be.
“I realized the most important thing for me to do was find happiness, fulfilment and a sense of identity outside of all of this,”Patty explains. “So, I found stability. Found help. Found that happiness. Then I slowly started to realize that the possibility of returning to music wasn’t a regression but an opportunity to introduce more purpose into my life and use it as an outlet for self-expression. That’s always been the best way that I’ve communicated with the world, through songs and performance, and I had been denying myself that for so long.”
It feels serendipitous that around the same time, Ben had contacted and reconvened with Patty, not as a bandmate but as a best friend to show support through the emotional turmoil that unloading so much from within can produce. The band never even came into the equation at this point; this, instead, was an opportunity for the two of them to just be. A support network without any add-ons or other intentions. Joined then by Ali and Foley for meetups, heart-to-hearts, and general hangs, starting in The Eagle in Brighton, this was four friends loving each other as that, and nothing else, for the first time in a very long time.
“I think that Ali is the only one of us with an actual brother,”Patty laughs. “But I now have brothers because of AS IT IS. Because of how much they loved me and showed up for me when I needed them. I feel like we are going to be brothers first always and till the end because of that.”
Before all of this, Patty and Ben had attempted to write music as a pair, not for anything, just because it’s what they had always done. After realizing he wasn’t ready for it and taking those steps to properly heal through actual therapy rather than through writing lyrics alone, only then did the conversation turn to the possibility of AS IT IS being their focus once more. But things could never be the same as they once were. Why would they want them to be? So, if they were going to do this, it would be entirely on their terms.
It’s because of this that the first fruit of their labors, the raw, rallying and very real “Lose Your Way & Find Yourself” took almost a year to the day of these conversations to be mixed, mastered, and ready to go. 365 days of love, care, consideration, and patience have gone into it, a reminder that this is a choice rather than a necessity, and that really making sense of the heaviness in your chest takes time. What would follow would be three additional trips into the studio with producer Kel Pinchin at the Ranch Production House in Southampton, allowing them to space out their writing rather than forcing it. For the first time in their career, the band was making an album whilst not being in the middle of at least 200 days of the year on the road. When you are spinning so many plates, just trying to make it to the next venue, you don’t have time to face any sort of demons or make sense of any trauma, let alone let anyone else know what you’re going through.
“We weren’t previously able to heal and grow when we were in the thick of it,”Patty admits. “We just had to cope and do our best, and within that, not always share that with each other. We could only share it with ourselves. When we were writing our second and third records, we were thinking about the bigger rooms we wanted to play and the bands we wanted to tour with as a result. This one was about as long as we are bringing out who we are and ourselves into the writer’s room. It’s not about what happens after we write, record, and release. This is just who we are.”
Such space to make sense of not just their own journey but also that of their brothers has resulted in some of the most emotionally stark, curiously brash and, ultimately, healing songs the band has ever committed to tape. Musically, rather than attempting to fit in any sort of particular scene, the quartet has spoken to the kind of sounds they actually adore instead of what they think others do. There are as many flickers of The Starting Line and The Early November as there are Counting Crows; big, bold rock songs with the earnestness and euphoria that make them want to pursue this life in the first place. Forged in a space where every instrument was ready to go as and when, rather than the regimented practice of tracking each element block by block, allowed spontaneous creativity to take precedent and more luscious and layered songs to blossom and bloom.
And lyrically, it is as warts and all as they have ever been, and that’s saying something for a band that has worn their hearts on their sleeves in the way they have over the last 14 years. Looking back on the people they have been with the most open eyes they have ever had, being honest in the ups and downs of what they experienced, and writing down their findings, the result is as nostalgic as it is earnest. From the raw storytelling of “Ruin My Life” to the hope-speckled “What If It All Works Out,” the open looking back of “Do You Remember?” to the curious understanding of “Marilyn,” every song holds a different sort of sentiment. A realization, defined by a situation, person, or thought process, that speaks for whom the band used to be, as well as whom they thought they used to be, as much as who they really are now. It is the sound of healing in real time, which makes for a band rejuvenated, impassioned, and more awake and alive than they have been since their inception.
“This is an amalgamation of the last 12 years as well as a new level of honesty and transparency,” Ben explains. “This is the core and crux of who we are. We’re never going to change from now on. It really is more about our relationship with each other and how, through everything, the four of us still have this bond, both as friends and musically. That has been tested a lot through the years, and these songs are now a real testament to our overarching brotherhood and love for each other.”
It’s because of this that the quartet knew that this had to be their self-titled record. For any band, making such a statement can either signal a moment of reinvention or a doubling down on what you believe defines you by reconnecting with what initially pushed you. And though the former is not strictly untrue, for Patty and Ben, the latter is what this whole experience is about. In remembering why they started this band in the first place, with the wisdom, experience, and drive they now possess all these years later, they feel they have almost come full circle. Though in taking stock of what it takes to nurture something as precious as this and not viewing this as an all or nothing situation, both within their friendship and relationship with the music, they have produced a piece of art that will inspire, instill belief, and live long in the hearts and souls of all who let it in.
It is everything that AS IT IS was, is, and will be, and it means the absolute world to them.
“You can never manufacture genuine connection with people,” Ben remarks. “Just find what is honest to you and honest to your journey, and that’s all any artist has to offer to the world. This is our reality, and reality is looking a bit more positive these days. We’re a band known for four quite depressing albums. But days fluctuate, and things change. That’s mental health. But to be able to look at everything with a different and more positive outlook on the future is all that we wanted to say.”
“This is the spirit and intention of the joy that formed AS IT IS in the first place,”Patty adds. “It is reconnecting with the kids that we were when we started to write songs. And now, we’re showing up with life in our eyes. We can listen to and support each other. This is the most in control and confident the band has been in a long time, but also the most proud. In the past, I had no choice but to be in AS IT IS. This new era of the band is my choice. Our choice. A choice. But in having it back, it means having maybe the biggest piece of myself back, too.”
1- I’m So Alive! 2- Ruin My Life 3- Do You Remember? 4- Marilyn 5- Lightless Sun 6- Watching The World Go Bye 7- Lose Your Way & Find Yourself 8- Last At The Party 9- Turn To Dust 10- If I Ever Lost You 11- What If It All Works Out 12- Not Anymore 13- Live, Laugh, Love, Los Angeles (Physical Editions Bonus Track)
AS IT IS Live:
JUNE
7th – Dordrecht @ Bibelot Poppodium 8th – Hamburg @ Betty 9th – Berlin @ Badehaus 10th – Hradec Králové @ Rock For People 11th – Cologne @ Mtc Club 13th – Donington @ Download Festival
JULY
13th – Bristol @ O2 Academy (W/ Boys Like Girls) 15th – Glasgow @ O2 Academy (W/ Boys Like Girls) 17th – Manchester @ Academy (W/ Boys Like Girls) 18th – London @ O2 Academy Brixton (W/ Boys Like Girls) 19th – Brighton @ Resident Music (In-Store & Signing) 20th – Birmingham @ Hmv (In-Store & Signing) 21st – Bury @ Wax And Beans (In-Store & Signing) 21st – Leeds @ Brudenell Social Club (In-Store & Signing) 22nd – Nottingham @ Rough Trade (In-Store & Signing) 23rd – Kingston @ Upon Thames Circuit 24th – Bristol @ Rough Trade (In-Store & Signing) 25th – Sheffield @ The Arundel Emporium (In-Store & Signing) 25th – Liverpool @ Jacaranda Baltic (In-Store & Signing)
SEPTEMBER
3rd – Torquay @ Burn It Down Festival
AS IT IS are: Patty Walters – Vocals/Guitar Benjamin Langford-Biss – Guitar/Vocals Alistair Testo – Bass Patrick Foley – Drums
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
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