US / THEM

Monday, September 21, 2026

Rickshaw Billie's Burger Patrol share December tour dates supporting forthcoming Ca$h Grab album (out 10/23)

"I guarantee you, it will be jammed firmly in your head for days on end." -- Metal Injection

“An instant earworm.” — Metal Sucks

“As ridiculously awesome as their big, dumb moniker would imply… churning out lumbering cascades of clobbering, trucker hat riffage that toe a slobbery line between Dinosaur Jr., Primus, Pantera and ZZ Top.” – Decibel Magazine

"Epically catchy... Imagine the ear-wormy fuzz-rock riffage of Dinosaur Jr. if it was played on an eight-string guitar with super heavy low-end." -- Revolver Magazine

Austin trio Rickshaw Billie's Burger Patrol announce December headlining tour dates today, supporting their forthcoming fourth album Ca$h Grab. The album will be released worldwide on October 23rd. Fans can get tickets HERE for all shows. Please see all dates below.

Ca$h Grab is available for pre-order on LP/CD/MC HERE. Hear/share "Ca$h Grab" +3 singles on all DSPs HERE.

Premier Guitar Magazine recently featured the band on their beloved Rig Rundown video interview series. Watch/share the Rig Rundown video via YouTube HERE and Premier Guitar HERE.

Rickshaw Billie’s Burger Patrol further the sarcastic tone of their previous album’s title Big Dumb Riffs to double down with Ca$h Grab. The irony here — and perhaps the point — is that Ca$h Grab is the band’s most introspective and lyrically vulnerable songwriting to date.

Of course, the band still bludgeons with thunderous 8-string guitar, growling bass chords and pummeling drums throughout. But these songs are as bassist Aaron Metzdorf explains,“more pop song forward, while still in the idiom of heavy music.”

The album finds the trio — vocalist/guitarist Leo Lydon, drummer Sean St. Germain and bassist/vocalist Metzdorf — expanding their mastery of heavy, hook-filled riffs and rhythms couched in earworm melody that would make Green Album era Weezer jealous. Following the Spartan Primus-meets-Pantera rhythmic ruction in 2 minutes or less of Big Dumb Riffs, the band lets melodies lead the battlefront this time around. In so doing, the lyrics are more personal and revealing, juxtaposed with twisting notes that nod to influences from Built To Spill and Sugar style indie pop to early 90s-era Rush.

“The heavier parts are even heavier, but more fleshed out. And the heaviness is not just in a guitar riff, but heavy lyrics, heavy melody,” Metzdorf says. “Some of the heaviest parts of the whole album are Leo's vocals. While the poppier stuff has a more prominent role on this one.”

Ca$h Grab kicks off where the last album left off: The slow burn quiet/loud dynamic of “Freakshow”, seemingly the end result of the quasi-psychotic conceit of the previous disc’s “In a Jar,” both of which are sung by Metzdorf, who sings lead on 5 of the album’s 14 tracks. Vocalist/guitarist Leo Lydon really showcases the versatility in his singing, belting out high notes like never before on songs like “Fate Is”, “Peaches” and the title track. And while his vocals soar, Lydon’s 8-string guitar rumbles with menacing low end while intertwined with Metzdorf’s thick, heavily distorted bass chords. The band’s secret weapon, St. Germain pulls it all together with his innovative beat substitutions and explosive, syncopated hooks delivered with an effortless groove and fun loving smile.

In the two years since Big Dumb Riffs, the band toured relentlessly, both as a headliner and supporting The Sword, Death From Above 1979, Pigs x9, King Buffalo and more. Their meticulously curated annual Big Dumb Fest in Austin and headlining dates continue to sell out and the band’s ever growing rabid fanbase proves that RBBP’s iconic reign has just begun.

Ca$h Grab will be available on LP, CD, cassette and download/streaming on October 23rd, 2026.

RICKSHAW BILLIE’S BURGER PATROL - LIVE 2026:

10/23 Austin, TX - Mohawk Austin (Album Release Party)

11/28 Silverado, CA - Silverado Festival

12/04 Denton, TX - Rubber Gloves

12/05 Tyler, TX - Stanley’s Famous Pit BBQ

12/06 Memphis, TN - Hernando’s Hideaway

12/09 Indianapolis, IN - Black Circle

12/10 Columbus, OH - Ace of Cups

12/11 Louisville, KY - Zanzabar

12/12 Asheville, NC - Eulogy

12/14 Orlando, FL - Will’s Pub

12/15 Tampa, FL - New World Brewery

12/16 St. Augustine, FL - Cafe Eleven

12/17 Pensacola, FL - The Handlebar

12/18 New Orleans, LA - Siberia

12/19 Houston, TX - Bad Astronaut

Artist: Rickshaw Billie’s Burger Patrol

Album: Ca$h Grab

Record label: RBBP / Permanent Teeth

Release Date: October 23, 2026

01. Freakshow

02. I Doubt It

03. Peaches

04. Fate Is

05. Punisher

06. Follow Through

07. Bury Me in Denver

08. Ca$h Grab

09. The Disappearing Man

10. No Juice

11. Bough Down

12. Talking To You

13. Couple Skate

14. Lush

https://linktr.ee/rickshawbilliesburgerpatrol

www.rickshawbilliesburgerpatrol.com

rickshawbilliesburgerpatrol.bandcamp.com

Monday, September 14, 2026

AURALAYER share first single from upcoming sophomore album, Into The Aura Lair

"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.

AURALAYER LIVE 2026:

10/09 Warner Robbins, GA - The Reverb Room

10/10 Athens, GA - Flicker Theatre

10/11 Chattanooga, TN - Cherry St. Tavern

10/30 Savannah, GA - The Wormhole

Artist: Auralayer

Album: Into The Aura Lair

Label: Auralayer

Release Date: December 4, 2026

01. Saldo

02. Tantalus

03. Wall to Wall

04. Survival

05. Down From Evil Eyes

06. Mythomania

07. Layers Beneath

08. Stuck on a Spike

09. Dead Arrival

On The Web:

linktr.ee/auralayer

Friday, September 11, 2026

Beth Cameron (ex-Forget Cassettes) shares beautiful, dark album addressing rare chronic illness and more

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.