"Primed to become your next favorite band." -- Metal Sucks
"An absolute joy to listen to and perhaps one of the most inventive albums to be released this year." -- Outlaws of the Sun
"Think the early days of Red Fang, when every chord and note was dripping with urgency, but with, one hand, a dash of progginess thrown in and, on the other, a dollop of sludgy sweetness that makes one think of Torche." -- Heavy Blog is Heavy
“Auralayer blend doom and guitar-forward pop sensibilities, capturing the decade from ’95 to 2005 when a generation of sing-along sludge blossomed from grunge’s demise.” — Decibel Magazine
"Builds momentum quickly and doesn't look back... An amalgam of modern heavy." -- The Obelisk
Auralayer, the heavy melodic trio out of Greenville, SC, share their new single from their forthcoming sophomore album today via The Obelisk HERE. The song "Wall to Wall" is now available to hear and share on all DSPs HERE.
Far too many heavy rock and doom bands overlook that the classic progenitors of the genre were firmly rooted in strong melodic hooks, not just skull thwacking riffs. Greenville, SC trio Auralayer bring pop melodies to the forefront of their sound, ensuring that the heaviness hits with exceptional impact.
Into the Aura Lair, the anticipated followup to Auralayer’s 2023 debut full length, Thousand Petals (King Volume Records) is heavy, fun and unpredictable. Think YOB, Torche and The Sword blended with 90s alt rock akin to Hum: Huge riffs pummeling through huge amplifiers, precise cannon like drums, and melodies that stick with you.
Guitarist Thomas Powell zeroes in on slamming High on Fire riffs counterbalanced with Hendrix psychedelic flourish and open-tuned alt-rock shimmer. Bassist/vocalist Jake Williams lays down sludgy, growling lows while his soaring, clean vocals hit powerful highs. The album is the first to feature new drummer Harold Smith, who brings a harder hitting style to their sound than heard previously.
To help them harness their energetic musical vision, the band once again recruited Philip Cope, the founder of the experimental metal band Kylesa, who also engineered, mixed, and mastered their debut album at Jam Room Recording Studio in Columbia, SC. As with Kylesa, Cope helped to capture and channel the band’s diverse influences and experimentation into a cohesive sonic palette.
Into the Aura Lair will be available digitally on December 4th, 2026. Pre-orders are available HERE.
Nashville musician Beth Cameron shares her solo debut full length LP, The World. Oh No. today. The album is available to hear and share on all DSPs HERE.
“This album is my nervous system on display,” says Beth Cameron of her first solo release, THE WORLD, OH NO. Raised on Riot Grrrl and post-punk, the Tennessee native fronted Forget Cassettes and Black Bra. Now, Cameron has unmasked under her own name. The result is a tour de force which viscerally portrays chronic illness on songs for piano, edgy Lyra synthesizer, guitar, and varying vocal techniques. Cameron’s gift for formal experimentation and lyric fearlessness means the songs somatically channel her HyperPOTS condition rather than merely describe it. Through skillful balance of melody and dissonance, her music channels contemporary artists like Emma Ruth Rundle and Chelsea Wolfe.
“My life revolved around music before I got sick. Now, my life revolves around my health,” Cameron says about the havoc wreaked by HyperPOTS , a nervous system disorder with no cure. In HyperPOTS , the body produces excess amounts of the stress hormone norepinephrine, keeping patients in constant cycles of panic, pain, autonomic dysregulation, and a constant uncertainty about how to function.
Cameron cites the “unpredictable nature of it; the peaks and troughs; always one foot in the world and one foot out” as one of the worst parts of the illness. While the record is a sonic manifestation of illness, Cameron doesn’t rest on the merely confessional. “I didn’t want to just write about my experiences, but I wanted to fully embody them through sonic choices.”
“I took my first songwriting workshop in the spring of 2025 with an artist I deeply admire, Nandi Rose, aka Half Waif. I had been slowly working on new songs for a couple of years, but I was really stuck. This workshop really opened up something in me.” Shoring up her lyricism with the poetry of William Bronk, Andrea Gibson, and Rainer Maria Rilke, Cameron found musical voice with a Baldwin Acrosonic piano, a Lyra 8 synthesizer, and heavy listening to binaural beats through the Moongate app.
It’s equal parts confrontation and a determination to take her life back, packed into a song structure reminiscent of experimental artists like Alexis O’Hara. Throughout the album, she employs the Lyra synthesizer, which gives the album an unrelenting feeling of anxiety it needed - that constant low pulse of uncertainty that accompanies someone living in an unpredictable body.
The album takes its title from a line in William Bronk’s poem “The World:” “There isn’t an anchor in the drift of the world. Oh no.” Perfectly encapsulating the constant tumult of sickness, listeners know they’re in for a visceral unpredictability, which ultimately offers empathy and witnessing to chronic illness patients.
“I consider ‘Something in the Offing,’ ‘Sympathetic Symphony,’ and ‘I’m Resting’ to be the emotional arc and connective tissue of the album. I wrote those songs as a triptych about what it feels like to have a POTS episode.” From the slowly swinging piano of “Something in the Offing” to the maniacal laughter that ends “Sympathetic Symphony,” these songs viscerally represent the grief, panic, and uncertainty of a sickness that may never go away. “Something in the Offing” repeats the storm-tossed imagery of the album title, “I’m cresting with the waves / A dance I know so well / So terrified of it still.”
“The album ends where it begins because of the cyclical nature of illness and grief,” a lament familiar to those with incurable illness. Nervous system conditions often correlate with past trauma, something Cameron had to confront. “Therapy allowed me the agency to finally choose anger over shame regarding bad men who had long exerted their power over me. ‘Lemonsqueezer’ and ‘RIP, OP’ are about the abuse I endured from my ex-romantic/musical partner, and with whom many other women continue to suffer. ‘Lemonsqueezer’ is also about the recent estrangement from my father after a lifetime of emotional abuse.” It’s a brave song, featuring spoken word verses, layered backing vocals, and determined percussion. “I’m the comeback lady,” Cameron declares, leading into a chorus of “My hate for you is my muse / You abuse, you abuse, you abuse.”
On “HeLa,” Cameron looks back at the medical trauma of her premature birth. “I was born half dead / To a mother who / Was living half dead, half wed,” she sings. The title is a reference to Henrietta Lacks, a Black woman whose cancer cells have been used nonconsensually in medical research.
Considering Lacks as an immortal presence while simultaneously being “another woman dismissed,” Cameron considers her own place in history. The music quickens like a pulse and what sounds like rage becomes resolve. “I’m not sitting in the waiting room no more,” the song ends.
“I could never shake this feeling that I wasn’t supposed to be here.” That theme bleeds over into “Motherland.” “Even though my mother left us to preserve her own survival, that neglect has consequences that still persist.” The slow piano, foggy synth sweeps, and singsong melody give an eerily tranquil ambience to the song’s themes. “Motherland, Motherwound / Mother see, Mother do / Motherfucker, what did I lose? / Motherland, Motherwound,” goes the chorus like a litany of grief. With a trembling vocal intimacy reminiscent of Beth Gibbons, Cameron enumerates what it means to be haunted by the one who gave her life.
Like the sympathetic nervous system, THE WORLD. OH NO. reaches the heart, the mind, the spine. Cameron refuses to add the veneer of hope, a detail that both comforts and educates listeners. Formally experimental while remaining accessible, the fourteen tracks embody the ceaseless and unpredictable suffering of chronic illness.
The World. Oh No. will be available on streaming/download on September 11th, 2026. A special Limited Edition hardbound book and CD package follows in Fall 2026. The album is available to pre-order on digital via Bandcamp.
Artist: Beth Cameron
Album: The World. Oh No.
Label: Submissive Grin
Release Date: September 11, 2026 (digital) / Fall 2026 (CD/book)
Nashville musician Beth Cameron announces her forthcoming solo debut full length LP, The World. Oh No. today. The lead single "HeLa" launched earlier via New Noise Magazine HERE. The song is now also available to hear and share on all DSPs HERE.
Cameron explains the song's significance:
"I have really struggled with writing about the concept behind THE WORLD. OH NO. It’s an entity with so many “worlds” I want to discuss, yet deep down I am terrified. Terrified you won’t understand what I’m singing about. Terrified you will understand exactly what I’m singing about, because it happened to you too. I’d like to say that writing this record was cathartic, but it actually felt more like a possession, so maybe releasing it into the world (OH NO!) is my exorcism.
"HeLa exists in one of those worlds, specifically medical and generational trauma. "HeLa" is about Henrietta Lacks, whose cells were harvested from her cervical tumor without her or her family’s knowledge or consent. Her cells were the first to survive outside the human body, creating the first immortal cell line, called HeLa cells. Because of HeLa cells, we have the polio, HPV, and COVID vaccines, among countless cancer and biomedical breakthroughs."
Beth Cameron is a writer, singer, and guitarist whose passionate, feverish music can be found under the names Fair Verona, Forget Cassettes, Eliza the Arrow, and Black Bra. Cameron has been a staple of Nashville’s neglected independent music community since the turn of the millennium. Her emotional live shows range from solo performances for electric guitar and voice to elaborate ensemble pieces for full band and women’s choir. Cameron, having toured across Europe and North America, is noted for her aggressive, virtuosic guitar style and an onstage persona.
Since her debut—as a teenage frontwoman in the American South—Cameron’s brusque inquisitions of violence, betrayal, and sex have energized a young Nashvilliana disengaged from their city’s vapid glitz and garnered praise from SPIN, NME, Missbehave, CMJ, Drowned in Sound, and NPR. Forget Cassettes’s 2006 album, Salt, produced by Jeremy Ferguson (Cage the Elephant, Lambchop), is widely considered the pinnacle artistic achievement of the Nashville indie rock scene of that era. Follow-up album O CURSA was so challenging and long in gestation that the group was dropped from their international label.
In 2016, Cameron married celebrated photographer and polymath Miles Price. Their first collaboration, Black Bra’s eponymous 2020 release, won the Nashville Scene’s best rock album of the year. Cameron’s latest album, The World. Oh No. released under her own name, was recorded and mixed by Roger Moutenot (Yo La Tengo, Sleater-Kinney, Lou Reed) for her own label, Submissive Grin. By far the most elaborate production with the largest supporting cast of her career, The World. Oh No. is Cameron’s most personal work and the most resplendent.
The World. Oh No. will be available on streaming/download on September 11th, 2026. A special Limited Edition hardbound book and LP package follows in November. The album is available to pre-order on digital via Bandcamp.
Artist: Beth Cameron
Album: The World. Oh No.
Label: Submissive Grin
Release Date: September 11, 2026 (digital) / TBA (LP/book)
