Canadian progressive rock duo Crown Lands have steadily emerged as one of the genre’s most ambitious modern voices. Now, the band deliver their new studio album Apocalypse, their most demanding and fully realized work to date, set for release on the 15th May 2026.
Today the band launch their new single “Through The Looking Glass”, alongside another evocative video clip from collaborator Luke Paron.
Kevin comments: “Through the Looking Glass features rolling 12-string arpeggios, Mellotrons, and a 7/8 bridge featuring Moog Leads full proggy fun while also serving up a big chorus. I love this one.
We wanted this song to show the might of the Dragon-Riders before the arrival of the Syndicate on Fearless’ planet. Is there anything cooler than heavy rock ballads about dragons? I think not.”
Cody adds: “This song is one of my favorites we’ve written of this new record. It was a song that came together with our good friend Nick Raskulinecz at his studio in Nashville. We had such a blast writing and recording the whole thing from start to finish and hope y’all enjoy the journey through Karagon’s past!”
Musically and creatively, Apocalypse marks a clear turning point. After completing Rituals entirely in their home studio, the band gained the confidence to take near-total control of the production process. Guitarist, bassist, and keyboardist Kevin Comeau explains: “That record gave us the confidence to realize we could make a Crown Lands album in our own space, without a major-label budget or a big, fancy studio.” That confidence carried directly into Apocalypse, with much of the album written and recorded in the same room the band has worked in since 2020. To enhance the album’s most crucial moments, Crown Lands selectively collaborated with producers NickRaskulinecz and David Bottrill.
Apocalypse will be released as a Ltd CD Edition, Gatefold Neon Yellow LP, Limited Gatefold Neon Green LP & as Digital Album. It is available for pre-order here.
Crown Lands will be on tour in Canada beginning on Feb 28th along with a stop on Cruise to the Edge in Miami, Florida.
Crown Lands Tour Dates:
MAR 20 – Kingston, ON – Kingston Grand Theatre MAR 21 – Milton, ON – FirstOntario Arts Centre Milton MAR 24 – Ottawa, ON – Shenkman Arts Centre MAR 25 – North Bay, ON – Capitol Centre MAR 27 – Guelph, ON – River Run Centre MAR 28 – London, ON – Wolf Performance Hall MAR 31 – Richmond Hill, ON – Richmond Hill Centre for the Performing Arts APR 1 – Oakville, ON – The Oakville Centre for the Performing Arts JUL 4 – Miramachi, NB – New Maritime Music Festival
Tarja will unleash her brand new metal album Frisson Noir on June 12 via earMUSIC, and it’s the heaviest record of her career and a powerful statement of identity, strength and belonging. After years of exploring different musical landscapes, Tarja stands firmly where she belongs — in metal.
Kicking off the album is the first single “At Sea”. The song embodies the core idea behind FrissonNoir – the physical reaction that music can provoke, the shiver that runs through the body when sound, emotion, and performance align in a real moment. With “At Sea,” Tarja captures that moment, reminding listeners what happens when sound, emotion, and human performance collide. The track combines Tarja’s voice with live musicians, orchestral arrangements, and choir performances recorded in Budapest with the Budapest Art Orchestra and Budapest Art Choir, conducted by Gyorgy Gulyas Nagy. The result is a heavy metal endeavor within a cinematic sonic landscape that mirrors the emotional journey of the song itself: The tension between fear and determination when facing the unknown.
Frisson Noir reflects Tarja’s ongoing dialogue between cinematic orchestration, classical heritage, and the power and intensity of contemporary metal. The album moves between intimate piano passages, dramatic orchestral textures, and powerful, guitar-driven moments.
At the center of the soundscape is Tarja’s distinctive voice, moving effortlessly between fragile emotional expression and operatic power. Around it, orchestral arrangements, choirs, and layered instrumentation create a cinematic world that constantly shifts between darkness and light, exploring deeply human themes such as fear, beauty, nostalgia, resilience, defiance, transformation, identity, disappearance, independence, trust, and perseverance.
Across 10 tracks, Tarja delivers intensity, emotion, and strength, joined by special guest Dani Filth (Cradle of Filth), Apocalyptica, Marko Hietala (ex-Nightwish), and Chad Smith (Red Hot ChiliPeppers). Mixed by GRAMMY-winning producer Neal Avron (Linkin Park, Skillet, Disturbed), the album blends a modern, hard-hitting sound with the dramatic and emotional elements that define Tarja’s unmistakable metal identity.
The album will be available in retail as CD Digipak, Black 2LP Gatefold and Ltd. Purple 2LP Gatefold. The first pressing of all formats is finished with high-quality copper foil and logo embossing. Further exclusive formats as signed editions and a strictly limited Collectors Box Set (incl. Black 2LP Gatefold (180g) with 24-page vinyl size booklet of illustrations, photographs, and lyrics, CD Digipak with 28-page booklet, Box Set exclusive 7″ vinyl single with “I Don’t Care (Tarja Solo Version)” and “I Don’t Care (Dani Mix)”, four Box Set exclusive animal print postcards, Box Set exclusive DIN A2 Frisson Noir poster, and a fine art print signed by Tarja) will be available in the official album store.
Since launching her solo career, Tarja has consistently charted internationally and built one of the most loyal fanbases in the genre, willing to follow her in every new adventure. Across more than two decades, Tarja has released a highly successful catalogue, reaching the Top 10 of multiple European album charts and establishing herself as an artist of rare consistency and presence. Her live performances have become a defining element of her career: touring worldwide and appearing as a celebrated guest at major metal festivals, Tarja creates a powerful and emotional connection with audiences, turning every show into a memorable experience.
Following the release, Tarja will embark on the International Frisson Live Tour 2026, launching 30th September 2026 in Berlin. Full tour dates can be found below and here.
Geoff Tate has dropped “Power”, the lead single from Operation: Mindcrime III, due out on 05/03. The track was co-written by Tate and guitarist/producer Kieran Robertson, with a lineup that includes Rich Baur on drums, Disturbed bassist John Moyer — who also co-produced the album — Dario Parente and Amaury Altmayer on guitars, and Tate and Robertson handling synths and strings. Juan Urteaga handled mixing and mastering at Trident Studios in Pacheco, California. Listen to the track below.
The record is released under Tate‘s own name, not the Queensrÿche banner. Like its predecessors, Operation: Mindcrime III is a concept album built around Nikki, Dr. X, and Sister Mary — but this time, the story is told from Dr. X‘s point of view. Tate explained the shift in a recent appearance on the “Let There Be Talk” podcast with host Dean Delray: “We’ve only heard it from Nikki‘s point of view, and he’s been sort of this victim throughout the whole story. And Dr. X‘s perspective is completely different, ’cause he’s not the victim at all. So it’s very aggressive.”
On “Power” itself, Tate was straightforward: “It’s a cool track. ‘Power’ is the first — I don’t know — we call ’em singles nowadays. It’s the first release on the album. And, yeah, it’s a really cool song — very, very energetic, very up, and kind of says a lot in a very short time, which I like.”
When Delray noted that the track “sounds like Queensrÿche“, Tate didn’t dodge it: “Yeah. Well, part of the whole writing process was keeping the music in the universe of ‘Mindcrime‘, writing within that style, I guess you’d say.”
Tate laid out his songwriting approach to Delray in some detail, describing how he plots out the narrative before breaking it into chapters that become individual songs: “I sort of look at it as a story, and I write the story out first of what is happening, and then I kind of dissect it and create chapters, and those chapters turn into songs. And then I kind of work to link them all together and follow a storyline that makes sense. And then you gotta kind of factor in musically how you’re gonna tie it together. Does it make sense musically and melodically to put this song before this song, before this song, before this song? ‘Cause that’s a big thing too, is making it flow, so it doesn’t seem obtrusive and people don’t have to turn the page back to find out what happened, and they’re kind of following along in a chronological order.”
The 13-track album was recorded piecemeal across the globe as Tate toured — hotel rooms, backstage at venues, and at least one church. One highlight: a crumbling Italian castle where Casanova was once held prisoner. “It had this one room that was just incredible,” Tate said. “Big, high ceilings, open environment, big stone walls, and that kind of thing. But it added a really unique sound to the song.”
Speaking to Canada’s The Metal Voice earlier this month, Tate spoke about why he returned to the Mindcrime universe at this stage of his career: “I’m interested in it. It’s a subject I’ve always been interested in, the ‘Mindcrime’ saga, the story of these three characters, really: Nikki, Dr. X, and Sister Mary. A fascinating triangle there of… Oh, it’s an interesting relationship between all three of them. And Nikki‘s story has really been kind of chronicled on ‘Mindcrime I‘ and ‘Mindcrime II’, and nothing has really been written about Dr. X. Like, who is he? What’s he all about? Why is he the way he is? What got him to this place he’s at? And I just found the subject to be interesting. And especially at the age I’m at now, where I’m probably very close to Dr. X‘s age, I’m looking at life differently now, and [I have] different goals, [and I have] a different reason to be, really, which I think probably happens with people as they age and get older.”
He confirmed the album runs parallel to — not after — the original story: “It’s happening in time at the same time as ‘Mindcrime I’. It’s X‘s perspective.”
On the production, Tate was effusive, particularly about the low end: “The sound, especially of the rhythm section — oh, it’s phenomenal. It’s really, really crunchy, punchy, big… I think it’s miles above ‘Mindcrime I’ — absolutely. Especially the bottom end — the bass and drums, rhythm section. It’s so modern, so huge. If you listen back to the ‘Mindcrime I’ album, it sounds like… I think it was one of the first digital recordings made, and so it has a brittleness to it that you just don’t hear anymore, ’cause the technology has gotten so much better now. The analog-to-digital converters are so much more sophisticated now. So, yeah, it sounds miles about that. I’m very happy, very happy with it.”
He also had a clear recommendation for how to hear it: “I just hope everybody can give it a spin, check it out. And especially with headphones. It’s a wonderful headphone album.”
The original Operation: Mindcrime, Queensrÿche‘s third studio album, arrived in May 1988 and was certified platinum in the U.S. by 1991. It landed on “Top 100 Metal Albums Of All Time” lists at both Kerrang! and Billboard, and Rolling Stone later noted that “nearly 30 years after its initial release, ‘Mindcrime’ feels eerily relevant.” Its 2006 follow-up, Operation: Mindcrime II, landed to a more divided reception — seen by many as an unwelcome addition to a near-perfect legacy, despite having its defenders.
Boundary-pushing artist Kid Bookie is back with a new single, “Blame”, featuring Corey Taylor of Slipknot. The track arrives with an official visualizer and continues the artist’s run of collaborative releases.
The new song follows “Rose McGowan”, which featured Rose McGowan and drew attention across both music and film circles. That release stood out for its direct approach and the pairing of two distinct voices.
With “Blame”, Kid Bookie moves further into personal territory. The track reunites him with Corey Taylor, also known for his work with Stone Sour, and focuses on themes of accountability, growth, and self-reflection. Their working relationship goes back years, and this release builds on that history with a more stripped-back and direct approach.
Speaking about the track, Kid Bookie shares: “Over the years, facing myself and the reflection that comes with the mirror isn’t always an easy one. Accountability is the removal of ego and pride to see beyond your own nose, to allow yourself the room to grow via ownership of your actions. I’m around some of the best people who practice that in more ways than one. Corey and I have been working with each other for nearly a decade, but I feel this record is a coming of age, even for us. New territory, but familiar approach to make sure we embolden each other through music. This song is almost a therapy session for me, and not just via my own lyrics, but to how Corey has made me feel by exposing himself so bare in this record, truly an honor to keep pushing the envelope with someone who has just pushed it as far as it can go, but has completely revamped what the envelope fu*king is.”
Corey Taylor adds: “Books is one of my favorite people, not just artists, and every time he comes to me with an opportunity to create with him, I’m always excited because I know I’m going to hear something I’ve never heard before. “Blame” was so good the first time I heard it, I signed on without even knowing what I’d do! I’m proud of the song, and I’m proud of him, and grateful to be involved.”
“Blame” shows Kid Bookie leaning into a more open and direct style while keeping the intensity that has defined his work so far. The track is built on that tension, combining heavy sound with personal subject matter.
The single also points toward a new full-length release expected later this year. Details are still limited, but the upcoming record is set to expand on the direction heard in “Blame”, continuing Kid Bookie’s mix of experimentation and personal themes.
Rise Against have announced a new run of U.S. headlining dates set for this fall, bringing Alkaline Trio along as support.
The tour begins September 22 in Dallas, Texas at South Side Ballroom and will move through major cities including New York City, Philadelphia, Raleigh, Phoenix, Milwaukee, Las Vegas, Salt Lake City, and San Francisco.
The band is currently on the road across Canada and select U.S. stops with Destroy Boys, Koyo, and Speed Of Light, keeping a steady touring pace ahead of the newly announced dates.
Presale access opens Wednesday, March 18 at 10 a.m. local time, with general ticket sales starting Friday, March 20 at 10 a.m. local. Tickets are available through the band’s official website.
Alongside the tour news, Rise Against recently introduced The A.R.T. Project (All Rise Together), a fan-focused initiative tied to their latest album Ricochet, released via Loma Vista. The project centers on collaboration, inviting fans to contribute creatively during a time when connection feels fractured. Supporters from across the band’s 25-year history took part in designing artwork for recent videos for “Damage Is Done” and “Ricochet”.
For decades, Rise Against have stayed consistent in both message and sound. The Chicago-based group built a catalog that reflects unrest and resistance, pairing sharp, melodic hardcore with themes that address social and political tension. Their music continues to carry that weight, keeping the band relevant while holding onto the core approach that defined them early on.
Rise Against Tour Dates With Alkaline Trio:
September 22 – Dallas, TX – South Side Ballroom September 23 – Austin, TX – Moody Amphitheater at Waterloo Park September 27 – Raleigh, NC – Red Hat Amphitheater September 30 – New York, NY – The Rooftop at Pier 17 October 3 – Asbury Park, NJ – Stone Pony Summer Stage October 4 – Philadelphia, PA – The Fillmore October 6 – St. Louis, MO – The Factory October 7 – Waukee, IA – Vibrant Music Hall October 9 – Council Bluffs, IA – Harrah’s Stir Cove October 10 – Milwaukee, WI – The Rave / Eagles Club October 12 – Morrison, CO – Red Rocks Amphitheatre October 14 – Phoenix, AZ – Arizona Financial Theatre October 15 – Albuquerque, NM – Revel Entertainment Center October 17 – Las Vegas, NV – Pearl Concert Theater at Palms Casino Resort October 18 – Salt Lake City, UT – The Union Event Center October 20 – Seattle, WA – WAMU Theater October 22 – San Francisco, CA – The Masonic October 23 – Irvine, CA – Great Park Live
Rock icon Ann Wilson, singer-songwriter and founder of Heart, has announced a special 10-city North American screening tour accompanying her forthcoming authorized feature documentary “In My Voice”.
Each evening will feature a high-definition screening of the documentary followed by a live question-and-answer session with Ann Wilson and director Barbara Hall, offering audiences a rare opportunity to hear firsthand stories from one of rock’s most powerful and enduring voices. Attendees will also have access to exclusive merchandise available only at the screenings.
Told in Ann‘s own words, “In My Voice” traces her extraordinary 75-year journey, from a nomadic childhood to the stages of the world’s biggest arenas, and into a bold new creative chapter. Drawing from an extensive personal archive of home movies, photographs, journals, and never-before-seen footage, the film reveals the deeply personal experiences that shaped Wilson‘s artistry and helped lay the foundation for the rise of Heart. The documentary also features commentary from family members, bandmates, fellow artists, and industry figures who witnessed her singular path.
“This film is my story in my own words, told the way I’ve always wanted to tell it,” says Ann Wilson. “It’s about finding my voice, keeping it alive, and sharing the journey with the people who’ve been part of it all along.”
The documentary is directed by Barbara Hall, a Prime-Time Emmy-nominated producer and director known for her work on immersive music and cultural documentaries. With more than 25 years of experience developing and directing original programming, Hall has built a reputation for uncovering powerful human stories. She is a member of the Producers Guild of America, the Guild of Music Supervisors, and the Documentary Producers Alliance, and was honored with the 2025 Women in Film/Nashville Alice Award Trailblazer Award.
“What an honor to tell the story of one of our greatest rock music voices of all time,” says Hall. “Her voice notwithstanding, her story exceeds a scriptwriter’s imagination, and her courage to share her story is inspiring.”
By interweaving past and present, “In My Voice” explores Wilson‘s life against the backdrop of a changing America, from the Vietnam War era and the rise of MTV to the enduring cultural power of rock and roll. The film reveals not only how Ann Wilson shaped the sound of a generation, but how her voice continues to evolve decades later.
“In My Voice” promises to be a landmark documentary that brings Ann Wilson‘s singular journey to the screen with honesty, power, and, of course, heart.
“In My Voice” Documentary Tour Dates:
05/11 – Seattle, WA – The Neptune 05/12 – Vancouver, BC – Rio Theatre 05/17 – Chicago, IL – City Winery 05/18 – Cleveland, OH – Rock & Roll Hall of Fame 05/20 – Nashville, TN – City Winery 05/27 – New York, NY – City Winery 05/29 – Bethel, NY – Bethel Woods Events Center 05/30 – Toronto, ON – The Opera House 06/01 – Boston, MA – City Winery
Following last October’s return with “Black Matter Manifesto”, Samael have revealed another new track, “Hidden Empire”, taken from their upcoming limited 12-inch maxi single vinyl set for release on April 24, 2026 through Napalm Records mailorder and the band’s official shop.
“Hidden Empire” focuses on the unseen systems influencing everyday life, turning that concept into a dense and heavy sound. The track opens with a nod to the band’s earlier style before shifting into a mix of crushing riffs and mechanical rhythm. Alongside “Black Matter Manifesto”, it forms a two-track release that shows Samael continuing to refine their sound while staying grounded in their identity.
Samael comments about the track: “Hidden in plain sight, right in front of us, everywhere and at all times. We no longer see what we are used to seeing, it is our reality, a reality to which we willingly submit in order to lead a painless but meaningless existence.
“Musically, the beginning of the song is somewhat reminiscent of Samael‘s classic track “My Saviour”, but it quickly evolves into something more unusual for the band. It is a heavy song with an industrial touch that maintains high tension from start to finish.”
The new release arrives nine years after Hegemony (2017) and marks the band’s first new material in nearly a decade. The limited vinyl edition of Hidden Empire will include both “Black Matter Manifesto” and “Hidden Empire”, and will be available exclusively through Napalm Records mailorder and Samael’s official store.
Formed in 1987, Samael have played a key role in shaping extreme metal, with releases like Worship Him and Passage helping define their sound. Their mix of black, industrial, and symphonic elements continues to set them apart.
“Black Matter Manifesto” reintroduced Samael with a direct and aggressive approach. With “Hidden Empire”, the band builds on that return, delivering a track driven by weight, repetition, and atmosphere. Together, these songs reinforce Samael’s place in the genre and show their ongoing push to move it forward.
April 2026 marks fifty years since Ramones dropped their self-titled debut, a record that helped define what punk rock became. To mark the milestone, a new book titled All Good Cretins Go To Heaven: The Enduring Spirit Of The Ramones digs into the band’s history through firsthand accounts and detailed research.
Written by Jenn L. Beckwith and published by DiWulf Publishing in the U.S. and Earth Island Books in the U.K., the 280-page release looks at the group’s origins, impact, and the mark they left on music and culture.
The story traces back to 1974 in New York City’s Bowery. Four musicians from Forest Hills, Queens—soon to be known as Ramones—played an early show to a nearly empty room, reportedly attended by the bar owner and his dog. From that point, things moved fast. With a unified image, simple but aggressive songs, and constant touring, Ramones built a following that stuck with them for decades and helped push punk into the spotlight.
All Good Cretins Go To Heaven: The Enduring Spirit Of The Ramones leans heavily on that fan connection. It collects photos, stories, artwork, and memories submitted by fans, alongside interviews with people close to the band. It also covers the band’s full history, individual member backgrounds, the roots of rock and roll, and how punk took shape, including what it meant to identify with that scene.
The book is set for a worldwide release on April 23, 2026, lining up with the 50th anniversary of Ramones.
To understand the impact, it helps to look at the landscape at the time. By the early ‘70s, rock had become increasingly elaborate. Yes released Close To The Edge in 1972, Genesis followed with Selling England By The Pound, and Led Zeppelin delivered Houses Of The Holy in 1973. The genre leaned toward complexity and polish.
Meanwhile, in downtown New York, something else was forming. At CBGB’s on August 16, 1974, Ramones played their debut show. The set was loud, fast, and direct. Songs were short, built on a few chords, and played with little concern for precision. That approach cut against what rock had become and set the stage for a shift.
Ramones went on to become one of the most recognizable American punk bands, shaping the sound and attitude of the genre. Their stripped-down style—three chords, direct lyrics, and high energy—came into focus with Ramones in 1976 and carried forward across their career.
Their influence reached far beyond punk. Bands like Black Flag, Nirvana, Metallica, Circle Jerks, White Zombie, Pearl Jam, and Guns N’ Roses all drew from that foundation in different ways. Even Motörhead paid tribute with a song dedicated to them.
Through it all, Ramones stayed consistent. They kept their sound and identity intact, built a lasting connection with fans, and secured their place in music history. Commercial success on a massive scale never came, but their impact has held up across generations.
All Good Cretins Go To Heaven: The Enduring Spirit Of The Ramones is available here.
No rest for the wicked. Since the release of their latest full-length, The Nothing That Is, Fit For An Autopsy has remained in constant motion. Today, the band marks the kickoff of their massive US tour alongside headliners Lamb Of God by unleashing a brand-new standalone single “The Wretch”.
Driven by relentless galloping riffs and punishing percussion, “The Wretch” features the band’s trademark earth-shattering breakdowns balanced by haunting, melodic layers in the chorus. It’s the definitive soundtrack for their return to the stage.
Fit For An Autopsy‘s Will Putney states: “True to our general nature, “The Wretch” is another relatively pessimistic and grim glimpse into our worldly outlook. In a time where nothing seems to be getting any better at home or abroad, we find there can always be a moment of comfort in the thought of burning it all down. We hope this song is that temporary oasis for you as well. Thank you for listening.”
Fit For An Autopsy has confirmed the following North American tour dates. The trek includes a major run supporting Lamb Of God, alongside Kublai Khan TX and Sanguisugabogg, as well as several headlining performances. For tickets, VIP packages, and full tour dates, visit here.
Fit For An Autopsy released their seventh studio album The Nothing That Is ( stream or purchase here) which featured the singles “Hostage”, “Savior Of None / Ashes Of All”, “Lower Purpose”, and “Red Horizon”.
It’s been two years since drum legend Carmine Appice and his reformed Cactus — singer Ed Terry, guitarist Artie Dillon and bassist James Caputo — first unbarred the doors to the Temple Of Blues – Influences And Friends, a 15-track slab of headbanging, hip-swinging heavy blues rock whose subtitle roped in a host of special guests, all of whom held the band very close to their hearts.
Now the Temple opens again with its sequel, Temple Of Blues II, due out April 3 via Cleopatra Records. This time there’s an all-star aggregation that recalls Ted Nugent, Billy Sheehan, Ron “Bumblefoot” Thal, Dee Snider and Pat Travers from volume one, alongside an all-new wave of heavy hitters including Steve Morse (Deep Purple), Tracii Guns (L.A. Guns), Joe Lynn Turner (Rainbow, Deep Purple), Rudy Sarzo (Ozzy Osbourne, Quiet Riot), Alex Skolnick (Testament) and a whole lot more.
The album’s second track, “The Little Red Rooster” (featuring Twisted Sister‘s Dee Snider on lead vocals and L.A. Guns‘ Tracii Guns on guitar) is out today. With a little help from A.I., a Western-themed video was created and edited by Dominic Esposito/Deville Films and co-directed by Carmine Appice. Watch it below.
Vinyl and CD pre-orders for Temple Of Blues II are available now here, while pre-orders on all digital outlets are available here.
“It was great working on ‘The Little Red Rooster’ with Dee and Tracii,” says Appice. “I arranged it with the drums first, then sent it to Artie Dillion and Ed Terry for their feedback. We created the demo with Ed‘s amazing vocals for Tracii, Dee, and James Haslip, who finished the song. Ed was gracious, sitting on the sidelines for this one so Dee could sing the lead vocals. It was such an honor to have Dee on the song and to have him make an appearance in the video, especially since he’s retired now. The song rocks!”
“Cactus! The name conjures such amazing memories for me,” exclaims Dee Snider. “An inspiration for the rock I would play in the years to come. Can you imagine what it was like to ‘get the call’ that your heroes want you to rock with them? Mind-blowing! And now to be asked for the second time!? What a treat to dig into a blues classic like ‘The Little Red Rooster’ with Cactus!!! Hell yeah!!”
“The Little Red Rooster” is the follow-up to the first single, “Back Door Man” (featuring MR. BIG bassist Billy Sheehan and guitarists Eric Gales and Artie Dillon), which was released February 18. As Carmine enthuses about the track, “When we finished ‘Back Door Man’ and listened to the whole mix, it blew me away. Billy and Eric are amazing together on top of my drums.”
