Kicking off the new year, Puscifer, the multi-dimensional project featuring Maynard JamesKeenan, Mat Mitchell, and Carina Round, have released “ImpetuoUs”, the third and final preview ahead of their upcoming album Normal Isn’t. The record is set to arrive on February 6 through Puscifer Entertainment, Alchemy Recordings, and BMG.
“I’m looking forward to hearing where this song takes people”, Maynard says. “As the writers, we forget that in a way, we are carpenters and that we’ve been with this song since it was a pile of lumber. Our perspective may differ from the final occupant of this space we’ve constructed. Shelter, Bridge or Gallows, Coffin? Curious to find out”.
Alongside the new track, the band has shared a visualizer that offers an early glimpse into the Puscifer comic book series Tales From The Pusciverse. The first issue centers on the character Bellendia Black, who was originally introduced in the Pendulum video. More information about the comic series, which will launch alongside Normal Isn’t, is expected to be revealed soon.
Before “ImpetuoUs”, Puscifer released two other songs from the 11-track album. “Self Evident” was described by Stereogum as gnarly, with the outlet noting that Keenan and Carina Round operatically growl throughout the four-minute track. “Pendulum” drew comparisons to the post-punk underground of the 1980s, with Consequence calling it the lovechild of Bauhaus and Sisters Of Mercy.
Written and recorded across Arizona, Los Angeles, and while on the road during last year’s Sessanta tour, Normal Isn’t blends the darker electronic elements and sharp humor the band is known for with a looser, more instinctive creative approach. “From the outset, we had discussed an element of rawness and edge, which guitar brings”, Mitchell, who co-produced the album, shares. “We got rid of the guard rails and made the music more aggressive”.
Normal Isn’t reflects this time we are living in, Keenan adds. “As storytellers and artists, our job is to observe, interpret, and report. We take in our environment and share what we see, and what we see around us does not appear normal. Not by a long shot”.
Normal Isn’t is currently available for pre-order and pre-save, with several limited-edition vinyl options including standard black, indie retail orange swirl, a Puscifer.com exclusive black ice and clear with black splatter, and a Queen B Vinyl Café fruit punch in tan with black and white splatter. The album will also be released on CD, cassette, and digital formats.
Sabaton has shared a new video trailer previewing their upcoming 31-date North American tour. The short clip offers fans an early look at what to expect from the band’s next stretch of live shows.
The tour is set to begin on February 9 in Fort Lauderdale, Florida, and will travel across the United States and Canada. Along the way, the schedule includes major stops in cities such as Los Angeles, Chicago, and Boston, before concluding on April 20 in Vancouver, British Columbia.
Known for their commanding stage presence and their mix of historical themes with heavy metal, Sabaton are expected to bring a polished and high-energy performance to each stop on the tour, appealing to longtime followers as well as newer fans.
Motorbooks has announced Rush And 2112: 50 Years (The Great Albums), a deluxe, slip-cased and heavily illustrated book celebrating the album that reshaped Rush and elevated the band from cult status to one of the most respected and influential names in rock music. The book is scheduled for release on March 10, 2026, arriving just weeks ahead of the 50th anniversary of 2112.
Originally released on April 1, 1976, 2112 landed at a turning point for the Toronto trio. After their second and third albums received mixed reactions, Rush—Geddy Lee, Alex Lifeson, and Neil Peart—took a creative risk and delivered a record that went against commercial expectations. That gamble paid off, solidifying their place in rock history. As author and rock historian DanielBukszpan explains, this was the moment when the band found their voice, transcended their influences, and became something distinct. The album’s success opened the door to a string of influential releases and fueled the band’s continued musical and lyrical growth.
Rush And 2112: 50 Years traces the full story behind the album through an in-depth look at how 2112 was created and why it is still regarded as the band’s defining work. The book features a track-by-track breakdown, including detailed insight into the iconic 20-minute 2112 suite, along with historical context surrounding the state of rock music in the mid-1970s and Rush’s evolution in the decades that followed.
The volume also includes rarely seen photography, from live performances to candid offstage moments and archival images, as well as interviews and commentary that shed light on the band’s creative process and lasting influence.
With more than 40 million records sold worldwide and a devoted global following, Rush’s impact on rock music and popular culture remains undeniable. This book captures the skill, innovation, and mindset that helped define the band’s legacy and continues to inspire musicians and fans across generations.
Rush And 2112: 50 Years stands as a definitive tribute to an album that changed the course of the band’s career and left a permanent mark on rock history, making it essential reading for longtime listeners and newcomers alike.
For more information or to pre-order a copy go to this location.
About the Author:
Daniel Bukszpan has worked as a freelance writer for more than 25 years, contributing to outlets including Fortune, CNBC, and Condé Nast Traveler. He is the author of The Encyclopedia of Heavy Metal, The Encyclopedia of New Wave, The Art of Brutal Legend, Woodstock: 50 Years of Peace and Music, Ozzy at 75, Iron Maiden at 50, and Rush at 50. He has also contributed to books such as AC/DC: High-Voltage Rock ’N’ Roll, Iron Maiden: The Ultimate Unauthorized History of the Beast, Metallica: The Complete Illustrated History, and Rush: The Illustrated History.
With their self-titled eighth studio album set to arrive worldwide in just two days, Alter Bridge have returned with the final track to be released ahead of the record’s official debut. “Scales Are Falling” is the latest preview from the long-running quartet made up of Myles Kennedy on vocals and guitar, Mark Tremonti on guitar and vocals, Brian Marshall on bass, and Scott Phillips on drums. The song centers on the moment when deception is exposed and the emotional weight that follows once the truth becomes impossible to ignore.
Myles Kennedy explains: “It’s when you realize the reality of a situation where you’ve been deceived. You see the truth and how harsh it is”.
Mark Tremonti adds: “I was excited for this one. It has an atmospheric vibe with a lot of peaks, valleys, and moods. I solo over the bridge, and Myles plays the outro”.
“Scales Are Falling” is now available across all digital streaming platforms. A new visualizer, created by Marcin Pospiech, whose past work includes Nine Inch Nails and Tool, was also released today and accompanies the track.
Now more than 20 years into their career, Alter Bridge continues to move forward without relying on past momentum. Known for their heavy riffs, strong melodies, and layered guitar work, the band will release their self-titled eighth studio album on January 9 through Napalm Records.
The upcoming album contains 12 new tracks that stand among the most focused and confident material the band has written. Songs like “Rue the Day”, “Disregarded”, and “What Are You Waiting For” sit comfortably alongside longtime fan favorites. “Trust in Me” showcases the vocal partnership between Kennedy and Tremonti, with Myles handling the verses and Mark taking over the chorus, a structure they flip on the heavier “Tested and Able”. “Hang by a Thread” is built with live performances in mind, while the closing track “Slave to Master” delivers a sweeping finale and holds the distinction of being the longest song the band has ever recorded.
The album’s first single, “Silent Divide”, continues to climb at Active Rock radio and is nearing six million views on YouTube. Longtime collaborator Michael Elvis Baskette once again produced the record, which was tracked over a two-month period this spring at the iconic 5150 Studios in California as well as Baskette’s studio in Florida.
Drumeo has recently shared a new studio video featuring drummer Matt Cameron, offering a detailed breakdown of “Spoonman”, the well-known track by Soundgarden. In the session, Cameron walks viewers through the rhythm and ideas behind the song, focusing on how the drum part came together and why it remains so recognizable decades later.
The track is widely seen as one of the singles that helped shape the grunge era. It was released in 1994 on Superunknown, an album that marked a major moment for the band. What many listeners may not realize is that the song’s signature groove did not start in a traditional rehearsal space, but was inspired by a real-life street performer whose unconventional approach left a lasting impression.
During the breakdown, Cameron explains how that raw, percussive influence informed the feel of the song. He discusses the creative decisions that went into crafting the drum part and reflects on why “Spoonman” continues to stand out as one of the most memorable grooves of the 90s, even years after its release.
Organizers from the cruise festival have confirmed that Jag Panzer and Ad Infinitum are the newest acts added to the lineup for the 2026 edition of 70000 Tons Of Metal, The Original, The World’s Biggest Heavy Metal Cruise. The announcement brings the festival even closer to a full roster as anticipation continues to build for next year’s sailing.
With 53 of the 60 bands already revealed and tickets currently on sale, metal fans from more than 80 nations are expected to be part of the event. Attendees are encouraged to prepare early so they don’t miss what is being promoted as a once-in-a-lifetime experience aboard the massive floating festival in the Caribbean, where fans are invited to join what organizers call The United Nations Of Heavy Metal At Sea.
The currently announced lineup for the 2026 sailing includes Ad Infinitum, Amorphis, Anthrax, Arkona, Beast In Black, Bloodred Hourglass, Cemetery Skyline, Darkane, Dark Tranquillity, Dodheimsgard, Dragonland, Dust Bolt, Eluveitie, Ereb Altor, Firewind, Gama Bomb, Groza, Haggard, Harakiri For The Sky, Heathen, Hiraes, Hirax, Hour Of Penance, Ignea, Illdisposed, Illumishade, In Mourning, Insomnium, Izegrim, Jag Panzer, Kamelot, Kanonenfieber, Orden Ogan, Paradise Lost, Persefone, Rhapsody Of Fire, Royal Hunt, Satan, Saturnus, Seven Spires, Skeletal Remains, Skyclad, Soen, Soilwork, Suidakra, Tribulation, Tyr, Vader, VBO (Vice Business Only), Vio-Lence, Wind Rose, Wolf, and Xandria.
Seven additional acts are still set to be announced, leaving room for more surprises as the cruise approaches.
Tickets for the 70000 Tons Of Metal 2026 cruise, which features an international lineup of metal bands and exclusive onboard performances, are available now through the event’s official website.
On Rick Rubin’s “Tetragrammaton,” Daron Malakian went deep on what he listens for in metal: riffs, mood, aggression, atmosphere, and how that shaped his own playing and writing. Then he got into the memory that still gives him a jolt: stepping in with Metallica when James Hetfield got hurt.
“When I was 12 or 13, at that point I had been playing the guitar for a year,” he said. “I was with these guys in my school that, in their dad’s garage, we would play Metallica covers. That’s pretty much all we’d play — a bunch of Metallica covers. And a big part of how I learned how to play the guitar was playing either Black Sabbath, Metallica, Iron Maiden, sometimes Slayer,” he added (via Blabbermouth).
“My friends really didn’t get Slayer, but they loved Metallica. But I loved Slayer, and I would fight with them over it. [Laughs]. But we would play these Metallica covers, so I knew all these Metallica covers,” he said. “When I got older, I knew them, and so we were on tour with Metallica on the “Summer Sanitarium” tour.”
“I met Metallica on stage, playing with them. I never met them before,” Malakian remembered. “We’re the first band. Nobody knows us. It’s 1999, maybe, at this point. [System Of A Down‘s] Toxicity‘s [See image gallery at www.sonicperspectives.com] is not out yet. We’re on our first album. And we are on the “Summer Sanitarium” tour,” he continues. “It’s us, a band called Powerman 5000, Kid Rock was on there, I think Korn was on there, and Metallica. It was, like, five bands on the bill. We were the first band that opened up [when people are walking in]. Nobody knows who System Of A Down is at this point.”
“And so we’re on that tour, and James Hetfield, along the way, gets injured,” he recalled. “I don’t know. They told me he was going water skiing or something, and he got injured. So they didn’t cancel the show. So all the opening bands played, and then Metallica still went on stage. And [then-Metallica bassist] Jason Newsted was singing. And then they brought the guys from Korn on, and they kind of played like this Cheech & Chong cover song or something. They didn’t know what to do, because James wasn’t there.”
“And I turned to my tech, and I go, ‘Listen, man. I go, ‘Go tell their tech that I know a lot of their shit,’ ’cause I’ve learned it playing it in this garage with these other guys. I go, ‘I know a lot of their shit from, you could say, …And Justice For All and back.’ Next thing you know, my tech goes and talks to their guitar tech, and then my tech comes back to me,” he added. “He’s, like, ‘All right, come with me.’ [I’d] never met Metallica before,” Malakian continued.
“And I’m telling you, Metallica was the first concert I ever went to in my life,” he said. “I was a huge Metallica fan. Faith No More opened up for them. Justice For All tour. So next thing you know, I go on the other side of the stage,” he added. “I get handed a Les Paul; I think it was one of [Metallica guitarist] Kirk Hammett‘s Les Pauls. And they’re, like, ‘All right. Go.’”
“60,000 people. [Laughs] Yeah. 60,000 people,” he remembered. “I’m in my after show. I am wearing Lakers fucking sweats. I’m not even ready to get on stage. I’m wearing a white tank top and Lakers sweats, and I was just completely there, just watching Metallica. Next thing you know, I get handed a guitar, and they go, ‘Go.’”
“You gotta understand. Our band’s not big yet. I’m still a kid. I’m 22 years old,” Malakian continued. “I can’t even believe that we’re even allowed to open up for Metallica. So this is all new to me at this point in my life. And they put me out there, and I turn, and I’m, like, ‘Hey,’” he said. “It’s Lars [Ulrich, Metallica drummer], it’s Kirk, it’s Jason Newsted, who was the bass player at the time. They’re, like, ‘What do you know?’”
“I go, ‘I don’t know. “Master Of Puppets”. ‘Okay. Count it in,’” he said. “We’re playing fucking “Master Of Puppets’. I’m up there with Metallica playing “Master Of Puppets” in front of 60,000 people. And I’m, like, ‘Who’s gonna sing?’ I said, ‘Fuck it. I’ll go sing.’ And I sang,” he added. “And then there’s this thing that happened where in the middle of “Master Of Puppets”, it has this slow part.”
“Instead of going into that slow part, they went into “[Welcome Home] (Sanitarium)”,” he recalled. “And I didn’t know they were gonna do that. And we went in, and we did the middle part of “Sanitarium” and then came out of it and went back into “Master Of Puppets”. I mean, you would think we had rehearsed it, but we didn’t rehearse it. And I didn’t even know it was gonna happen. And it happened. And I’m up there, and I am playing Metallica with Metallica in front of an audience where I would’ve been in the fucking cheap seats just three years ago,” he explained.
“I got off stage. Next thing you know, they’re coming to me. They’re, like, ‘Hey, dude, James isn’t gonna be able to play for a few nights. They want you to come and play with them fucking everything,” he added.
“And next thing you know, Kirk Hammett‘s in front of me with a guitar and I go, ‘Hey, bro, I know all your old stuff, but I don’t really know the Load and the Reload and all that stuff,’” he said. “So Kirk‘s trying to teach me stuff off Load. And then next thing you know, they’re, like, ‘Hey, get your shit from your bus, ’cause you’re flying on the private jet with us now,’” Malakian continued.
“So the first plan was to have me play a whole set with them,” he explained. “And I was preparing for that, and I was relearning all the old stuff and trying to learn all the Load stuff. And so I flew with them and everything, and then they decided, ‘Hey, it would be a cooler thing if we invited different bandmembers from the different bands that were on the gig,’” he said. “So the next night I was up on stage with Metallica again.”
“And I knew I was supposed to play ‘One’. And I got there, and I was ready to play ‘One’, and I turned to — I forgot — maybe Jason or Kirk or someone, and I’m, like, ‘Who’s gonna sing?’ Because I had no idea. They turned to me, and they were, like, ‘Bob,’” Malakian said. “And I’m, like, ‘Who the fuck is Bob?’ And I see Kid Rock come up. And I didn’t know Kid Rock‘s name was Bob.”
“And so Kid Rock comes up, and he sings the first night, and we did ‘One’, and it’s really fucking cool because ‘One’ has the whole [middle section], and I’m thinking, ‘Dude, you’re playing this shit with fucking Metallica. You’re turning around, and it’s, like, Lars,” he said. “It was crazy. I’ll never forget it.”
“And even after that, their techs would come up to me in different tours and be, like, ‘Dude, don’t think we forgot what you did. You brought it that day. I don’t wanna say, like, ‘You saved the show,’ but they were kind of, like, ‘You fucking brought it. They were struggling. And then you got up, you did ‘Master Of Puppets’”.
“Yeah, man. That happened. Oh, man. I’ll never forget it,” Malakian finished. “Even though my band is where we’re at right now, it still brings goosebumps to my… that I had a chance to experience that at that point in my career.”
If you pictured Megadeth’s farewell tour turning into a rotating-cast reunion, old lineups swapping in and out every few songs, Dave Mustaine made it clear that isn’t the plan. He addressed the idea again recently, and the message is simple: keep the focus on the set, the band onstage now, and the fans hearing the songs the way they came to hear them.
In an interview with Guitar World, Mustaine got asked straight up about inviting former members to join the band during the upcoming final run. His first point: the door already opened for the right moment, with one of the most famous former members stepping back into the spotlight: “We’ve already done that with [former Megadeth guitarist] Marty [Friedman].”
From there, he widened it out to the bigger picture, because the band’s history is deep, and a full-on “everybody gets a turn” concept becomes a massive logistical mess fast: “And I mean, let’s look at the other people we’ve played with… there’s a lot of people. [Laughs] That would be a huge undertaking. I don’t think I want to do that. I’d rather keep doing what we’re doing and let the fans [experience] Megadeth music and be happy about it. It’s not ‘puppet show Megadeth.’”
This also connects to what he said earlier on SiriusXM’s “Trunk Nation With Eddie Trunk” on December 5, 2025, when he was pressed about the ultimate fantasy scenario: one final gig with an all-surviving-members lineup. He explained why that idea doesn’t work in real life, even if it sells a lot of daydreams online.
“Well, I can’t really do that, because of the behavior of one of the bandmembers in the past. I just can’t — I can’t. Because, first off, it would be unfair to the other bandmembers if I didn’t play with them as well. But the thing about what we did with Marty [Friedman] in Japan [in early 2023], that was a no-brainer. That was brilliant. And I love Marty. We had our separation, and he went his way, and we went our way. But it was a very, very intense relationship I had with Marty, because that was the first relationship I had with a guitar player.”
“My relationship with [former Megadeth guitarist] Chris [Poland] was really great, but it wasn’t as good as it was with Marty. My relationship with [former Megadeth guitarist] Jeff [Young] was good, but it wasn’t as good as it was with Marty. And I probably wouldn’t have a problem playing with any of the members of those two lineups, except the fact that [former Megadeth drummer] Gar’s [Samuelson] is deceased, and [I’m] just not gonna do anything that is gonna, in any way, seem unfair to the other bandmembers,” he added.
He also got asked whether the final show gets promoted as the last-ever Megadeth gig, or whether the band might “quietly end” touring without a big red-circle date. His answer was half-honest, half-dark humor, because “the last one” carries weight, and he knows it.
“I don’t know. I was joking around with our management and said, ‘You guys should probably book some fake dates at the end of the tour that I don’t know about so I won’t go out there on the last date and just blubber like a fucking 175-pound wuss.’”
Haken have announced that guitarist Charlie Griffiths and bassist Conner Green have left the band, marking a major lineup change for the UK progressive metal mainstays.
In a brief statement shared via the band’s social media, Haken said they were parting ways “with heavy hearts,” thanking both musicians for their years of writing, recording, and touring contributions, and calling them “irreplaceable” as players and people. The band added that Griffiths and Green “will always be a part of the Haken family,” and closed with a tantalizing hint: new music is expected later this year.
While no further details were provided about replacements or upcoming live plans, the announcement arrives after a period of uncertainty around the band’s schedule, following the cancellation of their Euroblast Festival appearance and their withdrawal from dates with Coheed and Cambria — moves that had already fueled speculation among fans.
Griffiths joined Haken in 2008 and has appeared across the band’s studio catalog, while also launching a solo project under the name Tiktaalika in recent years. Greenjoined the band in 2014, stepping in after the departure of original bassist Thomas MacLean and becoming a key part of the band’s modern era.
For now, Haken haven’t shared who will fill the vacant spots, or whether the upcoming material will feature new collaborators, but with “new music coming this year” now confirmed, more news seems imminent.
The online gaming industry is experiencing explosive growth, becoming one of the most dominant forms of digital entertainment globally. The latest industry analysis shows that the global online gaming market is projected to grow to $333.20 billion by 2030, fueled by mobile accessibility, advanced technology, and increasingly immersive experiences. Among the most exciting sectors within this landscape are eGames—interactive, often skill-based digital games designed for online platforms.
As eGames continue to evolve, developers are turning to a source of raw energy and cultural influence that has stood the test of time: rock music. By integrating iconic bands, high-octane soundtracks, and rebellious aesthetics, many eGames are finding a new and devoted audience in the rock community. In this fusion of rhythm and adrenaline, eGames are not just embracing rock, they’re amplifying it.
A Brief History of Rock Music and eGames
The relationship between rock music and gaming goes back decades. In the early 2000s, the rise of rhythm games like Guitar Hero and Rock Band proved that rock had a place in interactive entertainment. These games didn’t just use rock as background noise—they made it the centerpiece.
Since then, the connection between rock and digital gaming has deepened. Several legendary rock bands have gone beyond licensing songs — they’ve inspired entire games. Here are four iconic bands that have made their mark in the eGaming world:
Guns N’ Roses – Featured in multiple official slot and arcade-style games, including ones with concert-style visuals, riff-heavy soundtracks, and signature symbols like Slash’s hat and Axl Rose’s mic stand. With Guns N’ Roses touring in 2026, their live and digital versions continue to remain popular.
KISS – The glam rock legends have inspired arcade games and slot machines filled with fire, bass solos, and theatrical flair.
Motörhead – Known for their hard-hitting sound, Motörhead’s themed games often feature tracks like “Ace of Spades” to create intense, fast-paced gameplay.
Ozzy Osbourne – The Prince of Darkness has been immortalized in video slots and eGames, combining gothic imagery with his signature metal anthems.
These rock-inspired games blend nostalgia, audio intensity, and striking visuals to capture the essence of rock in a virtual environment. But it’s not just legacy bands making waves—developers like Jili Games are pushing the genre even further.
Jili Games: Rock Energy Meets Digital Innovation
Jili Games is one of the largest and most innovative eGame developers in the global market, known for producing engaging, mobile-optimized content across multiple genres. While they’re widely respected for their arcade, slot, and skill-based games, Jili has also earned recognition for integrating rock music themes into their gameplay — appealing directly to fans of the genre.
Jili’s titles often feature high-tempo soundtracks, electric guitar riffs, and designs that echo the raw aesthetic of classic rock culture. Their games don’t just use rock as flavor — they make it part of the core experience.
Here are three Jili eGames clearly inspired by rock music:
1. Super Ace
Jili’s portfolio of games takes a lot of inspiration from rock music. On Solaire Online, Jili super ace is packed with high-energy animations, explosive win effects, and a driving soundtrack that evokes the vibe of a stadium concert. Its fast-paced gameplay is underscored by punchy percussion and power chords — creating an immersive, high-adrenaline experience.
2. Rock Star Legends
This title puts players in the shoes of a rising rock star, navigating through bonus rounds like “Backstage Pass” and “Encore Mode.” Featuring custom guitar solos and visuals that include leather jackets, amps, and neon lights, it’s a tribute to the rock lifestyle.
3. Thunder Riot
A game that channels the chaos and intensity of a mosh pit, Thunder Riot combines heavy distortion-laden audio with battle-like gameplay. It’s loud, fast, and completely unapologetic—just like the best rock tracks.
Why Rock and eGames Are a Perfect Match
There’s a reason rock music works so well in eGames—it’s about energy, immersion, and identity. Rock has always been about pushing boundaries, breaking rules, and connecting emotionally through sound. eGames, with their rapid feedback loops and immersive designs, tap into the same emotional currents.
Jili Games excels in this area thanks to its use of HTML5 technology, which allows for rich, cross-platform experiences without sacrificing performance. Whether you’re playing on a phone, tablet, or desktop, HTML5 ensures the games load fast, run smoothly, and retain every ounce of their sonic and visual punch.
This technology allows developers to incorporate dynamic audio, responsive animations, and cinematic transitions — crucial elements for delivering the kind of impactful, music-driven experiences that rock fans crave. Unlike older formats limited to static reels or basic audio loops, HTML5 empowers developers to build interactive soundscapes and real-time visual effects that feel like being inside a live gig.
Conclusion
As the eGaming industry surges toward a projected $333.20 billion valuation by 2030, the fusion of rock music and online games offers a powerful way to captivate players seeking more than just flashy visuals and quick wins. For rock fans, these games deliver an immersive tribute to the genre’s energy, attitude, and legacy.
With innovative developers like Jili Games leading the charge — creating HTML5-powered, rock-infused titles like Super Ace and Thunder Riot — it’s clear that eGames and rock music don’t just fit together. They amplify each other.
