Author: Editorial Team

  • GEDDY LEE Explains Why RUSH Didn’t Consider Choosing A Renowned Drummer: “We Wanted To Stay Away From The Obvious Comparisons”

    Geddy Lee and Alex Lifeson of Rush sat down with Brazilian TV show Fantástico to talk about the tour that, not too long ago, neither of them was sure would ever happen — and to explain one of the most-discussed decisions they made in putting it together: why the drummer behind the kit isn’t a rock household name.

    The “Fifty Something” tour, Rush‘s first run of official shows under the band’s name in eleven years, will feature German drummer Anika Nilles — best known for her work in jazz, fusion, and prog circles, and for touring with Jeff Beck in 2022. The choice raised eyebrows in some corners of the fanbase, where names like Dream Theater‘s Mike Portnoy had been floated as the kind of technically elite, Neil Peart-adjacent pick that might make sense. Lee addressed it head-on.

    “Well, there are a few reasons for that,” he said (via Blabbermouth). “First of all, I think Alex and I wanted to stay away from the obvious comparisons. When you are working with a drummer from this famous band or that famous band, it’s just too easy to make comments. You know what the internet’s like, you know what fans can be like — arguments. So I think what appealed to us about Anika, first of all, we were so thrilled to see how well she plays and her technical ability. And it never really occurred to us that she came from a different genre of music. So I think we wanted somebody fresh, someone who had a story, someone whose story would be welcomed by our fans. And I think Anika fits that bill completely.”

    As for whether the decision to go outside the rock world was a conscious one, Lifeson explained that the question never really came up — because the tour itself almost didn’t happen. “We never really talked about that, because that was never really a concern or an issue,” he said. “As far as I was concerned personally, I went back and forth on the idea of going back on the road. I did other projects, and I kept pretty busy. And I just didn’t know if I wanted to go through the whole thing of touring and being on the road.

    “But Geddy and I got together and we started playing some stuff, and invariably we started playing some Rush songs, and we really had fun and we realized how much we love playing. I mean, we’re very good friends — everybody knows that; we’ve been friends for a long time — but we were just having so much fun playing the songs, and after not having played them for a while, they were challenging to play. So that made it even more fun. And then we started talking about, what about the idea of maybe sharing this? And the more we talked about it, the more interesting that idea sounded and it kind of took on a life of its own. And now here we are with a full-fledged tour.”

    Lee offered a characteristically dry footnote to explain why the drummer conversation didn’t start sooner: “Well, the short answer, which Alex didn’t really answer, the reason we never discussed what style of drummer we want was that we had no plans to come back on the road. And when suddenly the story that he just told happened, we said, ‘Okay, now we need a drummer. Do you know any?’”

    The question of how Rush planned to handle the absence of Neil Peart — who died in January 2020 at 67 after a three-year battle with glioblastoma — was one the band approached with care. Lee outlined what they settled on.

    “Well, we’ve been talking about certain songs that we feel really, really give us the vision of Neil,” he said. “And we’ll pick those songs and each set, of the two sets, so twice a night we will pick a song to play sort of for him, and we’ll present a visual tribute behind us to Neil, whether it be to his lyrics or just to his playing or whatever. Take a moment, play these songs with him in mind so the whole audience and we can remember him.”

    What began as 22 dates sold out immediately. The 2026 leg — covering Canada, the US and Mexico — now totals 58 shows across 24 cities, with over half a million tickets already sold. In February, Rush announced the addition of South American and European dates for early 2027, marking the band’s first European shows since 2013 and first South American dates in 17 years. Across 24 shows in 13 European countries, each night will feature two full sets drawn from a catalogue of more than 40 songs.

    Rush and Nilles made their first public appearance together at Canada’s Juno Awards in Hamilton, Ontario in late March, performing “Finding My Way” — the opening track from Rush‘s self-titled debut, the only album in their catalogue not to feature Peart. It was Lee and Lifeson‘s first performance under the Rush name since the close of the R40 tour in 2015, though both have appeared at other events in the years since, including tributes to Gordon Lightfoot and Taylor Hawkins of Foo Fighters.

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  • EVERGREY Have Parted Ways With Longtime Guitarist HENRIK DANHAGE: “It Is Now Time For A New Chapter For Both Parties”

    Evergrey have announced the departure of guitarist Henrik Danhage, closing a chapter that — counting his initial run, a break, and his return — stretched across 21 years of the Swedish band’s history.

    The announcement came via social media today (Tuesday, April 7th): “Evergrey and Henrik have mutually decided to part ways after working together on and off for 21 years. It is now time for a new chapter for both parties. We wish each other all the best for the future and look forward to new music from both Evergrey and Henrik. Stay tuned.”

    The split had been signalled somewhat by Danhage‘s absence from the band’s fall 2025 tour alongside Katatonia, where Stephen Platt of Scar Symmetry filled in on guitar. No further explanation has been offered beyond the mutual parting statement.

    Danhage‘s story with the guitar goes back to age nine, when his grandfather handed him a copy of Kiss‘s 1975 live album Alive! and set something in motion. “I was in front of the mirror pretending I was Ace Frehley,” he once told Charvel, “and some of the best guitar playing I ever did was during those two years.” By twelve, he had enough of a foundation to be recruited into a local band called Penicillin with access to a rehearsal studio — two hours a week, enough to keep developing.

    The call from Evergrey frontman Tom S. Englund came in 2001. Danhage‘s debut with the band, In Search of Truth, released that same year, is widely regarded as one of the finest progressive metal albums of its era, with his approach to riffs and rhythm playing a central part in its identity. He stepped away from the band in 2008 to pursue other projects, but returned in 2014 and remained a consistent presence through a run of records from Hymns for the Broken to 2022’s A Heartless Portrait (The Orphean Treatment).

    The timing of the split puts it just ahead of a significant stretch for Evergrey. The band’s fifteenth album, Architects of a New Weave, arrives June 5 via Napalm Records — produced by Tom S. Englund and Vikram Shankar, with mixing handled by Adam “Nolly” Getgood. Days after the release, Evergrey are set to appear as special guests to Iron Maiden on two dates of the British band’s “Run for Your Lives” world tour.

    No replacement for Danhage has been announced.

    The post EVERGREY Have Parted Ways With Longtime Guitarist HENRIK DANHAGE: “It Is Now Time For A New Chapter For Both Parties” appeared first on Sonic Perspectives.

  • PYRAMID THEOREM’s SAM ERMELLINI On Their New Single Featuring JAMES LABRIE: “We Were Thinking, What Do We Want To Hear Him Sing?”

    Pyramid Theorem guitarist Sam Ermellini is the kind of person who talks about music the way most people talk about their friends: with genuine enthusiasm and without too much ceremony. The Toronto-based prog-metal trio has been at it since 2007, when Ermellini and bandmate Christian were still in high school playing Rush covers and figuring things out. A few albums and nearly two decades later, they’re releasing a new single featuring one of prog rock’s most recognizable voices.

    The band — Ermellini, Christian on bass, and drummer Vito — has three albums behind them: a self-titled debut, Element of Surprise, and Beyond the Exosphere. The new track, “Open Hearts,” features Dream Theater vocalist James LaBrie, and the story of how that came together is about as Canadian as it gets.

    Christian plays in another band called Falsett, which includes LaBrie‘s son Chance. That connection brought LaBrie out to watch Pyramid Theorem‘s Rush tribute project, Crush, perform one night — and he ended up in the crowd without much fanfare. “Next thing I know, I see James LaBrie in the crowd watching us play,” Ermellini recalls. “I’m like, oh crap. But yeah, we put out a feeler, see if he’d be interested in it. And he was down to help us. He really supports us. And we thank him just for even being on the track in general.”

    The song itself was built with LaBrie‘s voice specifically in mind from early on. Christian had the bones of it, a chorus chord voicing that the band immediately latched onto, and the writing process moved from there with a clear target. “We asked ourselves: what would work well with his voice? And what do we want to hear him rip?” Ermellini says. “It worked out for us.”

    What makes “Open Hearts” more than just a well-cast feature is the instrumental section sitting at its center. Ermellini is quick to credit the collective instincts that shaped it. “We were going for that Deep Purple kind of just slamming ’70s style,” he says. “We love all that Deep Purple, we love Zeppelin, all that Beatles stuff. So it was natural for us to write that kind of style for the solo section.”

    The recording process was split across locations. The band tracked the song at Strata XR with engineer Darius Trepaniak, who gave Ermellini exactly the guitar tones he was after — EVH-style with a Marshall pushed hard. The pre-production was then sent to LaBrie, who recorded his vocals independently before the full band reconvened at Chance‘s place to lay down harmonies and backing vocals. Mixing and mastering were handled by Richard Cheeky, who also produced Beyond the Exosphere and is close enough to the band’s world that LaBrie‘s son was in the room for part of the process.

    The Sound They’re Chasing

    When asked to describe Pyramid Theorem‘s musical identity — particularly where the new album is heading — Ermellini doesn’t reach for anything complicated. “We’re leaning into that metal rock sound like we usually do, and there’s a lot of Rush juice in it,” he says. “I’d like to think we have a little bit of that old school sound in our stuff. It’s not as modern as the prog that’s out nowadays.”

    His shorthand for the band’s DNA is direct: “If Rush, Ozzy Osbourne, and Pantera kind of had a baby, it would be Pyramid Theorem. That’s the sound we’re going for, at least.” Interviewer Rodrigo Altaf floated the addition of Van Halen to that equation, and Ermellini didn’t argue. “I love Eddie. He’s my favorite player that’s ever played guitar.”

    That list of influences runs deep. Ermellini‘s formative years on guitar were shaped by Van Halen, Ozzy Osbourne, Randy Rhoads, Zakk Wylde, Joe Satriani, Steve Vai, Ritchie Blackmore, and Jimmy Page, the full spread of ’70s and ’80s guitar royalty that informed a generation of players who grew up wanting to make a lot of noise with a lot of feel.

    The new album doesn’t have a title locked in yet; drummer Vito apparently keeps a black book of potential ideas, but Ermellini describes the material as having more room in it than previous records. “There’s a lot of air in this music. The song structures are a little bit deeper. I feel like it’s music where you’re looking forward to the next part.”

    Photo by Dustin Rabin

    Crush, And What’s Next

    The Rush tribute project, Crush, has become something of a calling card for the band beyond its original December purpose. Past sets have included full run-throughs of Rush‘s 2112, A Farewell to Kings, and most recently Permanent Waves straight into Moving Pictures — a combination they called “Permanent Pictures.” Next up might be Signals, though nothing is confirmed yet.

    For Ermellini, Crush serves a practical function beyond the joy of playing the material. “Half the time they’re like, ‘the Rush set was awesome,’ and then we’re like, ‘well, we got a band, right? Come check us out.’ And sure enough, the people do, and they support us. We’re so grateful for that.”

    The band is set to open for Stick Men at the Garrison in Toronto on April 8, with the “Open Hearts” single dropping two days later on the 10th. A Canadian touring run is planned through late May and into June, with hopes of getting into the United States in the fall. Ermellini is pragmatic but optimistic about the longer road: “Every little bit helps, and all the support helps. We want to get on the road as much as possible.”

    The post PYRAMID THEOREM’s SAM ERMELLINI On Their New Single Featuring JAMES LABRIE: “We Were Thinking, What Do We Want To Hear Him Sing?” appeared first on Sonic Perspectives.

  • NEAL SCHON Clarifies He Didn’t Force ARNEL PINEDA Onto JOURNEY’s Farewell Tour: “No One Was Ever Prevented By Me From Making Their Own Personal Decisions”

    Journey guitarist Neal Schon has issued a response to claims made by vocalist Arnel Pineda that he was effectively pushed into participating in the band’s Final Frontier farewell tour against his wishes — and while Schon stops short of dismissing Pineda‘s account entirely, he points to the real reason the singer had little room to walk away: a contract with touring giant AEG that specifically requires Pineda‘s participation for the tour to proceed.

    The situation has been building quietly for a while. Pineda, who joined Journey in 2007 at age 40 after being discovered via YouTube, has recently gone public with a string of personal difficulties — including a divorce proceeding that has produced serious allegations — and with his growing concern about his voice holding up over a demanding tour schedule, particularly in cold outdoor conditions.

    He says he raised the alarm twice before the Final Frontier dates launched in late February. “If you’re planning to do a farewell tour, you better tell me,” he reportedly told the band (via Ultimate Classic Rock), “because my issues and my personal problems are getting more intense and I don’t know if I want to go with you.” He says he prepared a formal resignation. He never received a reply.

    “As they say, silence can be louder than explaining,” Pineda said. “I said to them I wanted to retire because of my personal problems. No answer. Obviously, they don’t want to find another singer.”

    He also revealed that he skipped rehearsals entirely and only discovered the full scope of the Final Frontier format — two extended sets per night — when he returned from the Philippines. His current position is that of someone who knows exactly what leverage he doesn’t have: “They can fire me any time they want,” he said, “but they’re not.”

    Schon‘s official response is measured and stops short of directly addressing Pineda‘s version of events. “For clarity, no one was ever prevented by me from making their own personal decisions,” he wrote. “At the same time, we were all advised by our representatives that there are contractual obligations tied to touring that need to be honored.”

    He added, “Touring at this level involves many moving parts, and decisions are made collectively with our team, including management, agents, and promoters. Like any long-running band, there are moments where people feel the pressure differently. I respect that, and I have nothing but appreciation for what everyone brings to the stage.”

    His closing line had the tone of a man trying to move the conversation forward: “My focus has always been — and remains — delivering the best possible experience for our fans and keeping the music alive.”

    What the setlists make plain is that Journey has been quietly adjusting the show to accommodate the reality on stage. From opening night in Hershey, Pennsylvania, through early April dates in Wichita, Kansas, other singers have been handling six songs per show. By the most recent run of dates, that number has crept earlier in the set, with four of the first ten songs now being taken by stand-ins.

    The tour is not a short one. Journey has 60 confirmed Final Frontier dates in the US for 2026, with reports of at least another 40 shows to be announced for 2027. Whatever the internal tensions, Pineda appears set to remain on that stage for the foreseeable future — one way or another.

    The post NEAL SCHON Clarifies He Didn’t Force ARNEL PINEDA Onto JOURNEY’s Farewell Tour: “No One Was Ever Prevented By Me From Making Their Own Personal Decisions” appeared first on Sonic Perspectives.

  • METALLICA Add Two Connecticut Dates In November With SUICIDAL TENDENCIES & SPIRITBOX As Guests

    Metallica is heading into 2026 with a full touring schedule already in motion, and they’ve just added two more shows to the end of it. The band has announced a No Repeat Weekend at Mohegan Sun Arena in Uncasville, Connecticut, on November 19 and 21, timed to the venue’s 25th anniversary.

    The band put it plainly in their announcement: “Just as we’re getting ready to head out on the road for the first shows of ’26, we’ve added two more gigs to the calendar to wrap up the year. Join us at the intimate Mohegan Sun Arena in Uncasville, CT, to celebrate their 25th anniversary… as we like to say, they’re just getting started!”

    “You know the drill: two nights, two totally different set lists with no songs repeated, two unique special guests, and one great weekend!” the band continues. “Joining us on November 19 will be our tour buddies Suicidal Tendencies, and on November 21, our new friends Spiritbox.”

    The ticketing breakdown: single-day and two-day tickets go on sale Friday, April 10, at 10 AM ET / 7 AM PT, with both dates also available at the Mohegan Sun Box Office from Saturday, April 11. Fifth Members — the band’s fan club — get early access via presale beginning Wednesday, April 8 at 10 AM ET / 7 AM PT.

    Metallica framed the weekend in the terms their fanbase has come to expect from the format: “Two nights, two totally different set lists with no songs repeated, two unique special guests, and one great weekend!”

    The No Repeat Weekend concept was introduced during the band’s M72 world tour and has become a reliable draw, essentially a guarantee that fans attending both nights will hear two entirely different shows. At a venue like Mohegan Sun Arena, which holds around 10,000 people, the scale is considerably more contained than what the band typically works with. The arena sits within a sprawling entertainment and gaming complex along the Thames River in southeastern Connecticut, accessible from New York, Boston, Hartford, and Providence.

    Metallica noted the company they’ll be joining on the venue’s roster: “We hope to see you there as we join a long list of artists who have performed at the arena, including Bruce Springsteen, Prince, Lady Gaga, Chris Rock, Ozzy Osbourne, Billy Joel, Beyoncé, and many more. Twenty-five years and over 3,000 events later, we’re honored to help celebrate this milestone.”

    The Connecticut dates cap what is shaping up to be one of the band’s busier years. Before November, Metallica will make history as the first hard rock band to perform at the Sphere in Las Vegas, with a residency called “Life Burns Faster” scheduled for eight initial dates in October. The No Repeat Weekend format carries over there as well, with no songs repeated between each Thursday and Saturday pairing throughout the run.

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  • RONNIE ROMERO Says He Would Never Work With YNGWIE MALMSTEEM If Asked: “No, I’d Hang Up The Phone”

    Ronnie Romero has sung for some of the most demanding figures in hard rock — Ritchie Blackmore, Michael Schenker, Adrian Vandenberg — and come out of each chapter with something useful to say about the experience. He’s not a man who tends to shy away from direct answers. So when Chaoszine‘s Marko Syrjälä asked whether Romero would consider joining forces with Yngwie Malmsteen if the call came in, the response was about as clear as it gets.

    “I wouldn’t think about it,” he said. “I wouldn’t wanna do it because of all the stories I’ve heard from people I’ve worked with who have worked with him. I’ve worked with people like the Johansson brothers — Jens and AndersJeff Scott Soto and Mark Boals. I know all those guys, and they’ve told me some stories, and I was, like, ‘I don’t know…’ So, when somebody asks me, ‘What if Yngwie calls you?’ I would say, ‘No.’ I’d hang up the phone.”

    That said, Romero is careful to separate the man from the music. His entry point into Malmsteen‘s catalogue came through Swedish singer Mats Levén, and it left a mark. “The way I discovered Yngwie was actually when Mats Levén was in the band. The first Yngwie album I heard was the 1998 live album Live!!, and Mats was singing on it. Then I heard Facing the Animal, which is one of my favorites, together with The Seventh Sign. So yeah, if that ever happened, I’d choose just one song — and that would be ‘Facing the Animal’, for sure.”

    When the interviewer mentioned that Levén is set to perform the entire Facing the Animal album in Japan in May, Romero didn’t hold back his admiration. “Yeah, he told me that, and that’s fantastic. He’s a great singer. As I said in a post the other day, he’s one of my heroes. Together with David Coverdale and later Ian Gillan, he was one of the first singers who really blew me away. I was, like, ‘How can this guy sing like that?’ On that live recording, he’s just killing it.”

    Romero made his live debut with Rainbow in June 2016 after Blackmore selected him to front the reformed lineup. Beyond Rainbow, his CV includes Michael Schenker Group, Lords of Black, The Ferrymen, Elegant Weapons, Sunstorm, and Vandenberg — with whom he recorded the 2020 album 2020 before parting ways.

    His most recent solo release is Backbone, put out via Frontiers Music Srl, produced by Romero himself and mixed and mastered by guitarist Jose Rubio Jimenez. It features contributions from former Europe guitarist Kee Marcello and songwriter Russ Ballard, who penned the track “Hideaway.”

    Backbone followed Too Many Lies, Too Many Masters, his first solo album of original material, and two covers records: 2023’s Raised on Heavy Radio, which took on material from Ozzy Osbourne, Judas Priest, Iron Maiden, Accept, and Metallica with guests including Gus G., Chris Caffery, and Roland Grapow; and his debut Raised on Radio, which traced his roots through classic rock from Survivor, Bad Company, Foreigner, Queen, and Led Zeppelin.

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  • MATEO MANCUSO Talks New Album “Route 96”, Touring America, Influences & More: “I Would Love to Have Played With ALLAN HOLDSWORTH — That’s One Of My Biggest Regrets in Life”

    Matteo Mancuso is mid-tour and mid-breakfast when we catch him. It’s 10 AM on the road somewhere in the US — a luxuriously late start by his band’s standards — and the Sicilian guitar virtuoso sounds settled, cheerful, and remarkably clear-headed for someone who has to shred for ninety minutes every night. Route 96, his second album, isn’t out yet, but it’s already spilling out of venues across the country: the setlist is built almost entirely around new material, and the audiences are filming it all.

    Mancuso is not entirely thrilled about that last part. “A lot of people are doing live videos with their phone, and they’re uploading sometimes the old concert on YouTube,” he says. “I’m not necessarily a big fan of that, but it’s how it works today. You cannot escape that.”

    The Anatomy Of His Second Record

    Route 96 arrives carrying more weight than a typical sophomore effort, partly because of who shows up on it. Steve Vai contributes a solo to a track called “Solar Wind,” a collaboration pieced together remotely through audio files exchanged across a busy tour schedule. Mancuso had the solo back in under a month.

    What makes the track notable isn’t just the guest. It’s the intent behind it. “It’s not fusion, it’s not jazz,” Mancuso explains. “It is, let’s say, my attempt to write something that was the most Steve Vai thing I could ever imagine. Just to put him in the right mood, because I already knew I needed to send this track to Steve, and it needed to be something that Steve was comfortable playing with.”

    He also brought in guitarist Antoine Boyer for “Isla Feliz,” filmed at a theater in Mancuso‘s hometown of Palermo. The track was built as an experiment in layering — electric guitar, classical guitar, and gypsy jazz all occupying the same space. “There are a lot of Pat Metheny influences, a lot of Brazilian music,” he says. “The theme itself is South American-inspired in a way. There’s the European jazz with Antoine, there’s the electric part of it — and I think it came out great.”

    The album also includes “L.A. Blues One,” which Mancuso describes as a tribute to the session players who shaped his sound: Steve Lukather, Larry Carlton, and others. It’s the kind of track that doesn’t announce itself; it just feels like a long drive somewhere warm.

    The Architecture Of The Album

    Track sequencing, Mancuso says, is something he thinks about deliberately. The opening track has to be one of his favorites. Ballads are placed to give the ears a rest between the more demanding material. The pacing of Route 96 reflects that careful construction: calmer pieces like “The Great Wall” and “Mourning Light” sit alongside harder-charging ones like “Black Centurion” and “The Chicken.”

    The recording process also shifted significantly from the debut. The first album leaned into the looseness of playing without a click track. This one was built around demos first, with the Milan-based rhythm section — bassist and drummer — recording their parts before Mancuso added the guitars on top. The result is denser, more layered. “It sounds a little bit fuller compared to the first one,” he says, “because there are a lot of guitars, especially on some of the songs.”

    Mancuso‘s name gets attached to jazz as often as it does to rock and fusion, and there’s a reason for that. His playing carries the harmonic language of the genre, but he draws a firm line when it comes to tradition for its own sake.

    “I really like in my music the power and the energy of rock, and the colors and the harmonic sophistication of jazz,” he says. “I always try to combine both. But I was never attracted by playing jazz standards, because I don’t think it’s something you should do in 2026.”

    He’s direct about it: a power trio playing jazz standards, in his view, is an exercise in musicianship — not a viable artistic project. “It’s been done. You have to do it, but more as an exercise to develop your musicianship, not as a project centered on jazz standards. I don’t think it’s an interesting musical project.”

    Photo by foto Paolo Terlizzi

    Life On The Road

    Before 2021, Mancuso wasn’t touring at all — by choice. He was happy playing the occasional gig, spending most of his time studying and playing with friends. He didn’t want to call venues, didn’t want to manage logistics, and didn’t particularly enjoy planes. What changed wasn’t his personality; it was having a manager who took on the infrastructure, so he didn’t have to.

    “Ninety percent of the work behind is my manager doing all that stuff,” he says. “So I’m happy because I can think only about the playing part.”

    That manager spent nearly a year securing work visas for Mancuso and the rest of the band. Touring the US, he’s careful to note, came through the proper channels. “If Trump is listening to me right now, I’m 100 percent completely legal.”

    The playing, he says, is only about ten percent of what touring actually involves. The rest is travel, meals, shared vans, and navigating the logistics of getting from one city to the next. Getting along with the people around you isn’t optional — it’s what makes or breaks a tour.

    Photo by Paolo Terlizzi

    The Practicing Routine

    Asked what someone at his level actually works on, Mancuso doesn’t glamorize it. He still runs through basics — scales, arpeggios — because the alternative is falling behind faster than you’d expect. “Progress is slow, but decay is fast if you don’t play the basics.”

    But the approach isn’t rigid. He has no set routine, no hour-by-hour schedule. If it stops being enjoyable, he changes what he’s doing. “If it feels like work, that means you’re doing something wrong.”

    Most sessions start reluctantly and become something else. He picks up the guitar, plays for ten or fifteen minutes, and then finds his way into whatever is holding his attention — a solo he wants to learn, a passage that challenges him, something he hasn’t tried before. “Sometimes it starts like something I don’t want to do, but then it develops into something that I would like to continue.”

    His Bucket List

    There are still names Mancuso wants to share a stage with. Eric Johnson is near the top — a player who, it turns out, has spoken publicly about Mancuso, something that meant a great deal when he saw the video. Guthrie Govan is another. George Benson. Pat Metheny, whom he describes as one of his favorite musicians, regardless of instrument.

    And then there’s Allan Holdsworth — the one name on the list that carries a different weight. “I would love to have played with Allan Holdsworth, but it’s too late, sadly. I never saw him live. That’s one of my biggest regrets in life.”

    Route 96 is out soon. The tour continues. Pre-order the album here.

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  • PLINI Announces New Album “An Unnameable Desire”, Shares Music Video For Title Track

    In 2026, a stunning new chapter for Plini will arrive, with the prolific Australian guitarist, composer, and producer today announcing the release of a brand new album, An Unnameable Desire, set for release on Friday, 24th April.

    Across the space of 10 tracks, An Unnameable Desire blends staggering intricacy with moments of surging heaviness and billowing bliss, catapulting Plini‘s expansive dexterity and sonic diversity into even greater new heights.

    Accompanying the announcement of his new album, Plini has also unveiled the album’s title track along with a charismatic music video. But, as Plini reveals, all may not be as it seems as we venture further down the rabbit hole for album #3.

    “I picked this as the first single because it sets the tone/sound of the album without really giving anything away,” shares Plini. “I’m known as a guitarist, but this song doesn’t even really contain a guitar “solo”. Much like the video, it’s the whimsical first chapter of an adventure, and hopefully gives a false sense of security for what’s to come.”

    Pre-order the album here.

    Mixed by Simon Grove and mastered by Adam “Nolly” GetgoodAn Unnameable Desire finds Plini joining forces with a horde of creative talent, with magic woven alongside Simon Grove (bass, auxiliary guitar, mixing, engineering and co-production), Chris Allison (drums percussion, additional drum engineering and co-production), Dave Mckay (piano, keyboards and synthesizers), A.J. Minette (string arrangement and production), Misha Vayman (violin) and Yoshi Masuda (cello), with additional production on ‘Ciel’ courtesy of Devesh Dayal, a guitar solo on ‘Ciel’ by Jakub Zytecki and harp on ‘After Everything’ by Emily Hopkins. Album artwork is designed by Patti Bai.

    “Something I’m very happy about, after many years of making music and the “career” aspect of it becoming a whole lot more serious, is that the process hasn’t changed – still just me sitting in a room, tinkering on a guitar until I come across an interesting idea, and then following it down various rabbit holes until it starts feeling like a song,” shares Plini of his upcoming new album.

    “The intention with this album,” adds Pliniwas to let that side of the process be as playful as possible, and then when it came to executing these ideas as finished songs, trying to expand the music in every direction possible: the heavier parts should be heavier, the pretty parts should be prettier, the hard-to-play stuff should be harder to play… and also in being as thoughtful and intricate as possible in relating the songs to each other through various themes and references. I hope it’s as enjoyable to listen to as it was to make!”

    Renowned for delivering mind-bending musicality from all angles, Plini has previously released two full-length albums, 2016’s Handmade Cities and 2020’s Impulse Voices, alongside several EPs, singles, and contributing credits along the way. 

    Nominated for Live Guitarist of the Year in 2018 at the National Live Music Awards, Plini has also previously toured alongside Sleep TokenPeriphery, and Tesseract, and will embark on a huge world tour in 2026, commencing in Europe in late April.

    The post PLINI Announces New Album “An Unnameable Desire”, Shares Music Video For Title Track appeared first on Sonic Perspectives.

  • COLLECTIVE SOUL Set To Release New Album “Touch And Go” For Record Store Day

    Collective SoulEd Roland (vocals/guitar/piano), Dean Roland (rhythm guitar), Will Turpin (bass), Jesse Triplett (lead guitar) and Johnny Rabb (drums) — will release a brand new full-length album exclusively to independent record stores only, entitled Touch and Go.

    The 10-song Touch and Go is something new musically for the band, taking inspiration from The Cars and New Wave music, and will be available as 180-gram colored vinyl with a 12”x24” poster.

    For participating stores, fans can go to Record Store Day.

    “We’re excited for everyone to hear our new album Touch and Go,” says Ed Roland. “It has a New Wave sound. You can get it on Record Store Day, and we appreciate your love and support!”

    Last summer (July 8, 2025), the band released their definitive feature-length documentary, Give Me A Word: The Collective Soul Story, via Trinity Content Partners. Directed by Joseph Rubinstein and produced by Greg Richling and Jonathan Sheldon of Pfonetic, the film is available to purchase on DVD and Blu-ray as well as on the band’s official website, while fans can watch on demand (VOD) via Amazon (North America), Apple Music (Worldwide), Google (U.K. and North America), Vudu (North America), Hoopla (North America), and Olyn (North America), among others.

    Give Me A Word: The Collective Soul Story tells the band’s untold history: the family component to the band, the creativity, and the wisdom that has been hard won over their illustrious career. It was filmed at Elvis Presley‘ Palm Springs, CA estate in early 2023 during the recording of the band’s latest album, Here To Eternity. Collective Soul is the only other music artist besides Elvis to ever record at the historical landmark. Not only does the film contain footage of the recording process, but it also features archival footage throughout the band’s career, dating back to the band’s early days.

    The post COLLECTIVE SOUL Set To Release New Album “Touch And Go” For Record Store Day appeared first on Sonic Perspectives.

  • CHRIS POLAND Is Planning To Catch MEGADETH’s Farewell Tour: “I Should Go To See One, I’ll Make Time For DAVE”

    Chris Poland has a full schedule these days — he says he runs a couple of hundred studios during the day — but the former Megadeth guitarist says he plans to make it out to at least one show on the band’s ongoing farewell tour.

    “If it’s the final one, I should go see one,” Poland told George Dionne from KNAC.COM (via Blabbermouth). “I’ll have to make the time. But I will. I’ll make time for Dave.”

    Whether the tour actually turns out to be Megadeth‘s last is another question. When the interviewer suggested it might end up being “the world’s longest final tour,” Poland wasn’t entirely dismissive of the idea, but he also offered a reason to think Mustaine might mean it this time: “I don’t know, though. I think Dave is ready. I think Dave‘s ready to go fishing.”

    Poland played with Megadeth from 1984 to 1987, appearing on Killing Is My Business… And Business Is Good! and Peace Sells… But Who’s Buying? — two records that helped define thrash metal’s early character. His first live show with the band left a lasting impression, even if it wasn’t entirely comfortable at the time.

    “I remember my first time on stage, where I freaked out, was at L’Amours in New York. And luckily, I pulled it off. But I was freaking out ’cause they were playing the song ‘Am I Evil?’ and the whole room was singing it, and it was packed to the gills and the ceiling was sweating. That’s my first experience with a thrash metal crowd. I was just blown away. But I got over it after a while.”

    He’s measured about the band’s history, including his own exit from it: “We had good times. We had our moments, and we had our problems, but somehow we pulled it off. I think we all had guardian angels or something.”

    The relationship between Poland and Mustaine has never been entirely clean. Poland returned as a featured soloist on Megadeth‘s 2004 album The System Has Failed, but the reunion came with complications. Around the same time, Mustaine included demos from Rust In Peace — featuring Poland‘s playing — on a reissue of that album without Poland‘s consent or payment. Poland says he made repeated attempts to sort it out before involving a lawyer.

    “I tried to call Dave at least a dozen times, and I never heard back from him. Then I called Dave‘s manager a dozen times, and he wouldn’t get back to me. The last time I called him, I said, ‘Hey, man. If you don’t call me back, I’m going to call [my lawyer], and we’re going to have to get into it.’

    “The manager calls me back and totally insults me, saying, ‘You played a couple of solos. So what?’ And I’m like, ‘What do you mean, “So what?”‘ He said, ‘Dave thought that you would do it for the fans.’ I said, ‘Is everybody else who played on that demo doing it for the fans? Are they getting paid?’ He said, ‘Chris, that’s not the point.’ I said, ‘Listen, man, we have to do something here. I’m not just going to walk away. I love the fans, but I’m just not going to do it. If everybody else is getting a performance royalty for this, I want one.’ I want everybody to know that it wasn’t a nuisance suit, it wasn’t anything like that. I made every attempt to work it out, and they just ignored me.”

    Poland eventually settled for $9,500. Mustaine’s account of events has differed from Poland‘s over the years, though in a 2020 interview, he acknowledged Poland‘s playing in notably direct terms: “Chris Poland, as much as I don’t really like the guy, he was a great guitar player.” Mustaine also pushed back on the idea that Marty Friedman’s style developed independently: “When people say, ‘Hey, this sounds like Marty Friedman‘ — no, Marty Friedman sounded like this, because Chris played it first.”

    The song “Liar,” from Megadeth‘s 1988 album So Far, So Good… So What?, has long been understood to be about Poland. He confirmed as much a few years ago, characterising his reaction to it with minimal drama: “It’s like the pot calling the kettle black, man. When you point your finger, there are three pointing back at you. I just rolled my eyes and was, like, ‘Really?’”

    The post CHRIS POLAND Is Planning To Catch MEGADETH’s Farewell Tour: “I Should Go To See One, I’ll Make Time For DAVE” appeared first on Sonic Perspectives.