Author: Editorial Team

  • STEVE MORSE Shuts The Door On One-Offs With DEEP PURPLE, And The Reason Isn’t Subtle: “A Couple Of Guys In The Band Were Really Glad For Me To Be Gone”

    Reunion culture is everywhere in hard rock right now: anniversary runs, “one night only” sets, surprise guest spots designed to light up social media and sell a few thousand extra tickets. So when the idea of Steve Morse popping back in with Deep Purple comes up, it’s an easy fantasy for fans to build a whole tour around in their heads.

    But Morse isn’t playing along with the idea. Not because the music wouldn’t work, and not because the fans wouldn’t show up. His answer is a lot more human, and, honestly, a little messy.

    He’s already hinted at how the gig could feel creatively limiting, saying only “one out of 20” of his ideas “might get used,” which aligns with how a legacy band protects its core identity night after night. Still, for nearly three decades, Morse managed to leave fingerprints all over Deep Purple’s modern era: the harmonic detours, the quicksilver picking, the moments where the band sounded like it had new corners left to explore.

    And yet, by Morse’s telling, not everyone in the room valued that extra color, especially as some members aimed back at old-school rock “roots.”

    Here’s what he said to Guitar Interactive when asked about possible future one-offs: “I think if the band felt differently, I would feel differently. But I think that there’s a couple of guys in the band that were really glad for me to be gone, because they were sort of heading back to their roots and wanted just to be a rock band, and ‘don’t give me any of that fancy crap.’”

    “And when you look at me as a writer, I definitely give you that fancy crap. I can’t help it. [Laughs] So I think the band’s happier the way they are, and it would be kind of a step back for them to wanna do something like that… Anyway, they’re happier and better off. And I think the same here,” he added (via Blabbermouth).

    If you’re a heavy rock lifer, you’ve seen this split before: one camp wants the band as a tight, familiar machine; the other wants the version that takes chances, even if it risks a wrong turn. With Morse, Deep Purple got a guitarist who could play the classics, but also couldn’t resist upgrading the language when the song opened a door.

    That tension has always been part of the Deep Purple conversation, dating back to the shadow of Ritchie Blackmore — and the diehards who never stopped treating the post-Blackmore years like a debate to be won. Some fans accepted Morse as the guy who kept the band vital; others never stopped measuring every solo against a memory.

    Still, Morse wasn’t an awkward fit with everyone. One relationship in particular mattered, and it’s the one longtime fans still speak about with real warmth: his musical chemistry with Jon Lord. Morse didn’t come in trying to cosplay the past; instead, he connected with the part of Deep Purple that always had a bit of classical muscle under the riffs.

    Jon Lord had that classical-meets-rock connection. That’s why we gelled so well when I first got with the band; Jon‘s improv with me was what was driving me to be laughing and smiling at the end of our jam session,” he remembered.

    That’s the version of Deep Purple some listeners miss: the one that could be heavy, bluesy, and sophisticated in the same breath: not “prog” in a precious way, just a band with enough confidence to stretch.

    Then real life hit hard. In July 2022, Steve Morse stepped away to care for his wife as she battled cancer, and Deep Purple moved forward with Simon McBride. After his wife’s passing, Morse has been gradually finding his way back, focusing mostly on Steve Morse Band, which just released Triangulation — their twelfth studio album, and the first since Out Standing in Their Field.

    And even that comeback hasn’t been simple. Alongside grief and a massive career reset, he’s been adapting to arthritis and reworking the most basic mechanics of how he plays.

    “So, that’s a big challenge when you talk about losing your wife, losing your band for 28 years, and starting over with a new technique. I changed my picking position about 10 years ago, to include three different ways of holding the pick so I could change the angle and [adjust to] the pain level,” he shared.

    So if you’re still hoping for a surprise walk-on, it might be time to let that one go. Not in a bitter way, more like a grown-up way. Deep Purple gets to chase the version of itself it wants to be right now. Steve Morse gets to protect his peace, his hands, and whatever music comes next.

    And for the rest of us? We’ve got the records, including the era where “fancy crap” showed up in a band that was never supposed to need it, and somehow made them feel wider.

    The post STEVE MORSE Shuts The Door On One-Offs With DEEP PURPLE, And The Reason Isn’t Subtle: “A Couple Of Guys In The Band Were Really Glad For Me To Be Gone” appeared first on Sonic Perspectives.

  • YNGWIE MALMSTEEN Unloads On Ex-Vocalists, Says “They Are Trying To Capitalize From His Brand”

    Legendary Swedish guitarist Yngwie Malmsteen has taken aim at some of the vocalists from his early solo years, accusing them of “trying to capitalize from [his] brand”.

    Now 62, Malmsteen has shared the stage and studio with a long list of well-known singers over the years, including Jeff Scott Soto, Mark Boals, Joe Lynn Turner, Göran Edman, Michael Vescera, Mats Levén, and Tim “Ripper” Owens. More recently, Nick Marino has covered some live vocal parts.

    On Thursday, December 18, Malmsteen posted a message on social media that was later deleted. In it, he wrote: “So it has come to my attention that these hired and paid singers that I hired for my solo records are all trying to capitalize from my brand!”

    “Let’s be clear: performing on MY SOLO records does not equal ownership, authorship, or legacy. Writing a line here and there doesn’t make someone a songwriter, and singing my material doesn’t make it theirs. They were merely given a salary (work for hire) to put down MY written parts, just like the keyboard player, bassist, drummer, etc.”

    “If the only way you can tour or get attention is by leaning on my brand and using my name and album titles and my SOLO catalog, then you’ve already answered the question of who actually built something. And -What have they recorded/created the last 30,40 years?”

    What set off the latest comments isn’t confirmed, but the timing lines up with news involving Mats Levén. Levén recently said he’ll perform two shows in Japan in May 2026, and those dates are expected to lean heavily on songs connected to the one Yngwie Malmsteen release he sang on: 1997’s Facing The Animal.

    Earlier this month, a fan asked Mats Levén whether he had a hand in writing lyrics for Facing The Animal. He replied: “Well, a bit different from song to song…a song like ‘Braveheart’, Yngwie had the title to the song, and then I wrote most of the lyrics and some melody lines. Yngwie was quite open to letting me contribute. I wrote 30-35% of the Facing The Animal album.”

    “Alone In Paradise” was an old idea from the Odyssey [See image gallery at www.sonicperspectives.com] . I only completed that lyric. Actually, Joe Lynn Turner‘s backing vocals were still there when we recorded. Tracks like “Enemy” and “Facing The Animal”, I wrote all lyrics and melody lines for.”

    These days, after decades of working with hard-rock and metal vocalists, Yngwie Malmsteen often handles lead vocals himself. His current lineup includes keyboardist Nick Marino, bassist Emilio Martinez, and drummer Kevin Klingenschmid.

    Vocals play a limited role on Yngwie Malmsteen’s most recent album, 2021’s Parabellum, appearing on only four tracks. The title comes from Latin and is commonly translated as “Prepare For War.”

    The post YNGWIE MALMSTEEN Unloads On Ex-Vocalists, Says “They Are Trying To Capitalize From His Brand” appeared first on Sonic Perspectives.

  • RAINBOW “The Temple Of The King 1975-1976” 9CD Remastered Boxset Is Landing In March

    Rainbow‘s The Temple Of The King 1975-1976 is the most comprehensive collection of the opening phase of Rainbow’s career to date, and is the first in a series of anthology sets covering the career of legendary guitarist Ritchie Blackmore. The 9-CD set, newly mastered by Andy Pearce & Matt Wortham, is housed in Deluxe 7” packaging featuring a 24-page booklet featuring memorabilia, photos, and sleeve notes by music writer Rich Davenport.

    The set spans the band’s first two years and includes their debut album, Ritchie Blackmore’s Rainbow; their breakthrough record, Rising, and the extended German concerts that were compiled as part of the double live album On Stage.

    The final two discs comprise rare recordings, many of which are featured on CD for the first time, including band rehearsals, single edits, and rough mixes. Pre-order the boxset here.

    Rainbow was initially formed as a Ritchie Blackmore solo project in the early months of 1975, after a Deep Purple tour of the previous year. On that tour, they were supported by the American band Elf. The singer of Elf, Ronnie James Dio, left an impression on the already legendary guitarist Blackmore. Blackmore asked him to sing on a cover of the song “Black Sheep Of The Family”. The sessions went so well that a full album began to take shape, with Blackmore and Dio collaborating on original songs. Blackmore had such foresight in this project that he solely financially funded the work and thus began the mystical musical world of Rainbow.  The resulting record, Ritchie Blackmore’s Rainbow, was recorded between February and March 1975 at Musicland Studios in Munich, Germany. With Blackmore‘s composing prowess and Dio‘s mystical lyrics, the band was set to take fans to a new level.

    The album’s unusual stylistic blend of hard rock and classical music was partly inspired by Blackmore taking up the cello to help him break free of the confines of conventional guitar chord progressions. Ritchie Blackmore’s Rainbow was a top 15 hit in the UK and top 30 in the US, and was such a positive experience that in the Summer of 1975, that Blackmore left Deep Purple to commit himself fully to Rainbow.

    Recruiting bassist Jimmy Bain, keyboard player Tony Carey, and ex-Jeff Beck Group drummer Cozy Powell, Ritchie Blackmore’s Rainbow undertook their first tour. By 1976, the band’s name had been shortened to Rainbow, and a second album, Rising, was recorded in February of that year once again at Musicland. Rising, with its iconic sleeve of a fist holding a rainbow in a mystical scene, only features six tracks, including two epic compositions on side two, one of which, “Stargazer”, is widely regarded as a Rainbow classic and a landmark in hard rock. The original musical stylings are often touted as the 1st neo-classical metal band. It was the perfect melding of Ritchie‘s guitar wizardry and Ronnie‘s soaring, powerful vocals.

    Taking the album on the road in 1976, the band added Deep Purple‘s “Mistreated” to their setlist, and song lengths were stretched to include improvisational sections. The band recorded shows in Germany and Japan, which were edited and compiled as the live album On Stage, released in the summer of 1977. Three of the German shows from Cologne, Düsseldorf, and Nürnberg are being released together for the first time outside of Japan on The Temple Of The King 1975 – 1976.

    By the end of 1976, Rainbow had established itself as one of the cornerstones of British rock, and, under the leadership of the never-predictable but ever-astonishing guitarist Ritchie Blackmore, would become synonymous with some of the most loved and popular rock songs of the seventies and eighties.

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  • DREAM THEATER Fans Get a Rare Look at JORDAN RUDESS’ Korg Kronos Keyboard

    Dream Theater keyboardist Jordan Rudess is the focus of a newly released live rig rundown video shared by keyboard manufacturer Korg. The video offers an inside look at the gear Rudess depends on while touring around the world.

    The keyboardist takes us behind-the-scenes to show us his essential touring companion: the Korg Kronos. The feature highlights how Rudess integrates the Korg Kronos into his live setup, breaking down the sounds and workflows that help him reproduce Dream Theater’s complex arrangements night after night.

    The video arrives as Dream Theater prepares for a major milestone on the road. The band has announced their 40th Anniversary tour dates across Latin America, scheduled to run through April and May of 2026.

    As part of the celebration, Dream Theater will perform their most recent album, Parasomnia, in full. The shows will also include a performance of A Change Of Seasons, marking the song’s 30th anniversary.

    Confirmed Tour Dates:

    April 2026:

    08 – Arena Monterrey – Monterrey, Mexico
    10 – Arena CDMX – Mexico City, Mexico
    18 – Movistar Arena – Bogotá, Colombia
    20 – Costa 21 – Lima, Peru
    24 – venue TBC – Buenos Aires, Argentina
    26 – Plaza de la Música – Córdoba, Argentina

    May 2026:

    03 – Auditório Araújo Vianna – Porto Alegre, Brazil
    05 – Live Curitiba – Curitiba, Brazil
    07 – Dois Ipês – Brasília, Brazil
    09 – Vibra – São Paulo, Brazil
    10 – Vivo Rio – Rio de Janeiro, Brazil
    12 – Befly Hall – Belo Horizonte, Brazil

    The post DREAM THEATER Fans Get a Rare Look at JORDAN RUDESS’ Korg Kronos Keyboard appeared first on Sonic Perspectives.

  • YUNGBLUD Opens Up on “The Howard Stern Show” & Shares Cover For BLACK SABBATH’s “Changes”

    Yungblud appeared on SiriusXM’s The Howard Stern Show on Monday morning, December 15, to promote his Grammy-nominated album Idols. During the interview, he performed a cover of Black Sabbath’s “Changes” and reflected on his experience playing at Back To The Beginning, Ozzy Osbourne’s final live show.

    Yungblud’s profile has continued to grow throughout the year, beginning with his performance of Black Sabbath’s “Changes” at Ozzy Osbourne’s farewell show in July, just weeks before Osbourne’s death. For Yungblud, a lifelong fan, the moment carried deep personal meaning.

    “I was riddled with ADHD, angry, full of energy, like my teachers didn’t know what to do with me, so I immediately identified with this character who was celebrated for his individuality and his madness,” he said of the late frontman.

    Reflecting further on the experience, Yungblud spoke about the significance of being welcomed into Osbourne’s world.

    “I can never be more thankful to Sharon and Ozzy for giving me that moment to show the world what I can do,” Yungblud continued. “When you feel Osbourne’s arms around you, you have to try your fucking best to honor that moment and honor him forever.”

    During the conversation with Stern, Yungblud also revealed that it was Ozzy Osbourne himself who encouraged him to include the performance on Idols, which became Yungblud’s fourth studio album.

    “He was like, ‘Hey … have you seen the reviews of your cover of “Changes?” You’ve got to fucking put it out, man,’” the rocker recalled.

    The discussion later shifted toward the state of rock music today and how it continues to evolve. Yungblud pushed back against the idea that the genre needs saving by a single figure.

    “It’s such a sacred genre,” he declared. “Every fucking dad says to his kid, ‘I don’t like that – it sounds like what I knew,’ and it always happens.”

    “People always put so much pressure on one person bringing it back … That’s a load of bullshit,” the rocker continued before referencing current bands like Turnstile, Amyl And The Sniffers, Geese, and Knocked Loose.

    Explaining his own creative approach, Yungblud emphasized ambition, risk, and scale as guiding principles behind his recent work.

    “What I wanted to do was bring a sense of theater and showmanship and adventure and nine-minute songs in a 2025 way,” he explained. “It was a fucking risk … [but] we have a fanbase that will go with us.”

    The post YUNGBLUD Opens Up on “The Howard Stern Show” & Shares Cover For BLACK SABBATH’s “Changes” appeared first on Sonic Perspectives.

  • BRIAN MAY Teams Up Again With TALIA DEAN For “Praise Your Name”

    Singer-songwriter Talia Dean has reunited with Queen guitarist Brian May for a new holiday release, unveiling the official music video for the Christmas song “Praise Your Name.” The video, directed by Simon Lupton, also features the award-winning St Anne’s Catholic High School for Girls Gospel Choir.

    The collaboration marks another creative chapter between Dean and May, who have worked together multiple times. According to May, the project has been quietly in development far longer than fans may realize.

    “Only the most EPIC Christmas track EVER!!! It’s a tour de force — a beautifully simple yet powerful and joyous song of praise for Christmas, written by Talia herself”, Brian said.

    “Yes, I did have a hand in its production — we’ve been secretly working on this since before last Christmas! It’s been worth the wait”.

    Dean also shared her own thoughts on the release, emphasizing the effort that went into bringing the song and video to life: “This is going to be epic. We’ve worked hard on this… almost caught pneumonia making this music video”.

    Brian May’s connection with Talia Dean extends beyond this release. Last year, he appeared in her widely noticed music video for “You Made Your Bed,” further cementing their ongoing creative partnership.

    The post BRIAN MAY Teams Up Again With TALIA DEAN For “Praise Your Name” appeared first on Sonic Perspectives.

  • JOURNEY Classics Take Over “The Voice” Season 28 Finale

    Four members of Journey’s current touring lineup appeared on the season 28 finale of NBC’s singing competition show The Voice on Tuesday, December 16, delivering a medley of some of the band’s most recognizable songs. The performance included “Lights”, “Lovin’, Touchin’, Squeezin’” and “Don’t Stop Believin’”.

    The segment opened with coaches Michael Bublé, Snoop Dogg, and Reba McEntire joining the band onstage for a cover of “Lights”. Guitarist Neal Schon and the rest of the Journey musicians backed the trio, while several fan-favorite contestants from season 28 also took part in the performance.

    As the medley continued, the focus shifted fully to the band’s catalog, building toward a crowd-pleasing finale. The performance closed with an energetic rendition of “Don’t Stop Believin’”, bringing the season to a familiar and celebratory finish.

    An official video of the performance from the season 28 finale of “The Voice” is available to watch below.

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  • WITCHCRAFT Returns With “A Sinner’s Child” EP

    Swedish doom folk trailblazers Witchcraft have announced a new five-song EP titled A Sinner’s Child, set for release on March 13 through Heavy Psych Sounds Records. The EP’s emotionally charged title track is already available to stream.

    The release follows the strong critical response to Witchcraft’s 2025 comeback album Idag, and finds the band stepping into a more restrained and personal space. Rather than expanding outward, this new material turns inward, offering a quieter but no less powerful statement.

    At the center of the EP is Witchcraft founder, vocalist, and creative force Magnus Pelander, who pares the music down to its core. Across the record, he moves between the melodic proto-doom atmosphere of Drömmen Om Död Och Förruttnelse and Själen Reser Sig, the radiant folk tones of A Sinner’s Child and its companion piece Sinner’s Clear Confusion, and the somber acoustic weight of Even Darker Days. Each song is shaped by Pelander’s hands-on, multi-instrumental approach, giving the EP a direct and immediate feel.

    A Sinner’s Child presents Pelander’s songwriting at its most exposed and emotionally direct. The EP acts as a clear channel to the haunting melodies and emotional gravity that have defined Witchcraft for more than twenty years. It highlights the enduring strength of voice, melody, and raw rock elements reduced to their essentials, while also serving as a reflective closing chapter to Idag.

    The band’s evolution stretches back to 2000, when Pelander formed Witchcraft in Örebro following the breakup of his previous group Norrsken. The band’s self-titled debut in 2004 became a generational touchstone, helping ignite a retro-focused movement that later developed into its own subgenre. Still, Witchcraft continued to evolve rather than remain fixed in place.

    Albums like Firewood in 2005 and The Alchemist in 2007 introduced more progressive ideas, while 2012’s Legend made it clear the band had moved beyond the analog revivalism they once helped pioneer within modern doom and heavy rock. The 2016 double album Nucleus expanded their sound into richer, heavier doom territory, and 2020’s Black Metal shifted sharply into sparse, moody acoustic minimalism that echoed Pelander’s early solo work while breaking new ground for the band.

    With Idag, those decades of exploration were finally pulled together into a cohesive whole. A Sinner’s Child now follows as a quieter, more intimate reflection—one that looks inward while honoring everything Witchcraft has become.

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  • SEPULTURA Announce Final European Tour Dates Of Their Farewell Tour

    After four decades, 14 gold records, and having traversed 80 countries and numerous diverse cultures, Sepultura has transcended into one of the most influential metal bands of our time, serving as Brazil’s emissary to the rest of the world.

    Sepultura has just announced the final European leg of the band’s “Celebrating Life Through Death” farewell tour. The trek will launch on June 6, 2026, in the Netherlands and will conclude with the previously revealed last-ever European concert on August 9 in Dublin, Ireland.

    Sepultura 2026 European Tour Dates:

    06/06 – Maastricht, Netherlands – South Of Heaven
    06/07 – Plzen, Czech Republic – MetalFest
    06/08 – Zagreb, Croatia – Tvornica Kulture
    06/09 – Milan, Italy – Circolo Magnolia
    06/10 – Rome, Italy – Eur Social Park
    06/12 – Interlaken, Switzerland – Greenfield
    06/13 – Nickelsdorf, Austria – Nova Rock
    06/14 – Würzburg, Germany – Posthalle
    06/17 – Saarbrücken, Germany – Garage
    06/19 – Clisson, France – Hellfest
    06/20 – Dessel, Belgium – Graspop Metal Meeting
    06/21 – Lisbon, Portugal – Rock In Rio Lisboa
    06/23 – Oberhausen, Germany – Turbinenhalle
    06/24 – Potsdam, Germany – Waschhaus Potsdam
    06/25 – Copenhagen, Denmark – Copenhell
    06/26 – Huskvarna, Sweden – Folkets Park
    06/27 – Oslo, Norway – Tons Of Rock
    07/29 – Wacken, Germany – Wacken Open Air
    08/01 – Helsinki, Finland – Tavastia
    08/02 – Tallinn, Estonia – Tallinn Rock Festival
    08/05 – Villena, Spain – Leyendas del Rock
    08/07 – Walton-on-Trent, UK – Bloodstock Festival
    08/09 – Dublin, Ireland – 3Arena

    Tickets will go on sale this Thursday, December 18, at 10:00 a.m. CET.

    With their latest opus, Quadra, an album that made a triumphant entry at No. 5 on the German chart and garnered over seventeen million streams on Spotify, the band originally hailing from Belo Horizonte has once again spread the colors and rhythms of Brazil worldwide. However, in late 2023, they announced their plan to unite their forces for one final, powerful farewell tour, bidding adieu to a 40-year existence.

    For this final journey, Sepultura has enlisted the prodigious 23-year-old American virtuoso Greyson Nekrutman as their new drummer and together, this quartet has embarked on multiple tours across North America, Europe, and Latin America, presenting a career-spanning set to their fans that honors the forty years of Sepultura. Yet their journey has not reached the final end, and their farewell tour will see them celebrate their legacy on several continents until 2026.

    To date, the band has unleashed fifteen studio albums upon the world, having sold over three million units in the United States and 20 million worldwide, thus earning multiple gold and platinum records in various corners of the globe, including France, Australia, Indonesia, Cyprus, and their home country. To this day, their magnum opus, “Roots”, has been streamed a staggering 225 million times on Spotify.

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  • QUEENS OF THE STONE AGE Stream Entire “Alive In The Catacombs” Concert Film On YouTube

    The acclaimed concert film Queens of the Stone Age: Alive in the Catacombs is now available to stream for free on YouTube, starting today.

    Queens of the Stone Age fans around the globe are invited to witness the band’s intimate, powerful performance, set deep within the ancient, atmospheric underground tombs of Paris. Filmed and recorded in July 2024, the band is captured as you’ve never seen or heard them before, with a carefully selected setlist spanning the band’s catalog, each song chosen specifically and epically reimagined in deference to the Catacombs. 

    The companion film, directed by Andreas Neumann, Alive in Paris and Before, is also part of this free YouTube release. The intimate behind-the-scenes documentary film reveals the emotional and physical trials Queens of the Stone Age overcame to create Alive in the Catacombs.

    Previously, both unique cinematic experiences were available for purchase directly from the band as well as through the Criterion Channel’s streaming platform. The film also had a run of worldwide theatrical screenings in over twenty countries. Fans who wish to own a digital copy for their permanent collection can still do so with a direct purchase at the band’s official site, while the audio release is available on all digital streaming platforms here.

    The Catacombs of Paris are a sprawling 320km (200 miles) ossuary beneath the surface of Paris. With a foundation of several million bodies buried in the 1700s, skeletal remains are largely exposed, with much of the walls built of skulls and bones, “the biggest audience we’ve ever played for,” says Joshua Homme. Homme had dreamt of staging a QOTSA performance there since his first visit nearly 20 years ago. The city of Paris, however, had never granted permission to any artist to play within the sacred tunnels. QOTSA, being law-abiding citizens, waited until their vision was sanctioned. 

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