Author: Editorial Team

Bloodstock “New Blood” alumni HeKz are delighted to be raising the bar for progressive metal with the announcement of Qisma – their fifth studio album, set to redefine what’s possible in the genre.

Qisma – an evocative Arabic word meaning fate, destiny, or divine will – captures HeKz at their most fearless and inventive. Visionary bandleader and multi-instrumentalist Matt Young has created what he calls his “boldest artistic statement to date”, an album designed to captivate prog devotees and welcome newcomers alike into HeKz’s richly textured sonic landscape.

To mark the announcement of Qisma, HeKz has released the album’s first single, “The Future Is Here.” The track acts as the opening chapter of the wider Qisma narrative and sets the thematic and musical tone for what follows.

“The Future Is Here is the perfect introduction to Qisma,” says Young. “It sums up exactly what HeKz is about. Music and lyrics working together to tell a story, with no boundaries on where that story can go.”

He continues, “Qisma takes everything fans love about HeKz: soaring melodies, compelling storytelling, theatrical grandeur – and amplifies it beyond recognition. We’re exploring exciting new sounds and textures that even surprised us in the studio!”

Pre-order the album here.

HeKz have long been recognised for their unconventional, electrifying use of the violin. Qisma elevates this signature element to new heights. “We’ve never treated the violin as a backing instrument – it’s a lead voice in our music,” Young explains. “On this album, the interplay between violin and lead guitar is genuinely groundbreaking. We’re charting new territory.”

True to its name, Qisma weaves a gripping narrative thread throughout its 12 tracks. It’s a tale of self-discovery in a world that demands conformity, where modern systems prioritise control over creativity and compliance over courage. Yet the album’s message blazes with hope: with passion, belief, and unwavering commitment, we can forge our own destiny and illuminate the path for others.

“It’s an allegory for the moment we’re living through,” Young reflects. “With everything happening in our world right now, we must hold on to hope. We must find the light in the darkness. Don’t let anyone convince you there’s only one way forward – there isn’t!”

Presented as a double album, Qisma features guest contributions from prog rock royalty:

• Adam Holzman (Steven Wilson, Trifecta, Jane Getter) on keyboards
• Mark Bogert (Knight Area, Magoria) on guitar
• Moyano el Buffalo (King Lizard, Diamond Black) on percussion
• John Mitchell (Frost*, Asia, Lonely Robot, Arena) on vocals, co-production, mixing, and mastering

Qisma stands as a powerful testament to the enduring strength of independent artistry. HeKz have consistently resisted the gravitational pull of the mainstream industry, forging their own path with integrity and vision.

Young concludes with palpable pride, “This album is a celebration of the power of doing things your own way. There’s simply no chance we could have made an album like this as part of someone else’s system. We’ve made Qisma on our own terms, and I couldn’t be more excited to share it with the world. Long may independent music thrive!”

The post Progressive Metallers HEKZ Announce New Album “Qisma”, Share Music Video For First Single “The Future Is Here” appeared first on Sonic Perspectives.

A new documentary, The Ballad Of Judas Priest, has made its world premiere at the 76th Berlinale – Berlin International Film Festival, running 02/12–02/22. The film is co-directed by filmmaker Sam Dunn and Rage Against The Machine guitarist Tom Morello, and it focuses on Judas Priest’s rise and long-term influence inside and outside metal culture.

The documentary includes key tracks in the band’s catalog, including “Breaking The Law” and “You’ve Got Another Thing Comin’,” and frames Judas Priest as a band whose impact goes beyond genre labels.

At the film’s 02/15 Berlinale press conference, Tom Morello directly addressed the political angle in both the movie and the band’s legacy: “What a time to be alive, where you can both make a documentary about one of your favorite bands and fight fascism at the same time. But one of the things that, while the lyrical content — maybe ‘Breaking The Law’ and a few songs — are explicitly political in Judas Priest, the band’s existence is very political.”

“When I’ve seen Judas Priest over the course of the last decade or so in Los Angeles, the audience is maybe more than 50% Latino. It’s a lot of gay couples — nothing that has anything to do with the stereotypical… And yes, there are some older dudes like myself and leather jackets proudly bringing their kids to the show as well, but that community and the unity and the harmony that exists at a Judas Priest show is in some ways a model for how we might all do better,” Morello continued (transcribed by Blabbermouth).

Judas Priest singer Rob Halford was also at the press conference and explained how social and political realities have shaped his writing for years: “It’s been impossible for me as a lyricist to not avoid seeing things in the world that affect me, that get me pissed off and thinking, is there a way I can put this into a song?” Rob explained.

“And I’ve been doing that forever, whether it was ‘Raw Deal’ from Sin After Sin, which was a really explicit gay song, going to Fire Island and trying to hook up with somebody and the freedom that that gives you as a person to be with your own people, to a song called ‘Savage’, which is about climate change from the — what album was ‘Savage’ on? Stained Class? So that’s a ways back. The last album [2024’s Invincible Shield], I talk about — I’m not gonna say his name, but I talk about that person, and it’s a bit of a smokescreen, but if you understand, if you really listen, the message is there, the expression, the feeling is there. And it’s a very difficult tight rope to walk because I just wanna give people a good time,” he added.

Halford continued with a broader point about messaging and audience connection: “Rage Against The Machine gives people a great time. When you see everybody bouncing up and down, they’re lost. They’re in ecstasy, but the message isn’t lost on them. The message is probably more relevant when they’re home alone, lying in bed or sitting, having a coffee and listening to music. That’s a whole different experience in the way the message can reach you. So, I really have to temper myself, because as I’ve gotten older, I’ve gotten angrier with the world. I’ve gotten angrier with the injustice, particularly for my own people who are still suffering and are not given the human rights that they absolutely deserve.”

“I’m not talking about Germany, — I’m talking about Saudi Arabia, Iran, other parts of the world where people like myself are just used and abused in horrible ways. So, I try my best to avoid that type of explicit message, but it’s there. It’s there. And that gives me some comfort that I’m not letting myself down consciously on subjects that mean a lot to me and piss me off.”

Co-director Sam Dunn also emphasized why “Breaking The Law” is a central moment in the film: “For me, going into the film, there were probably four or five main moments I knew we needed to hit in the story of this band. And one of them was the song ‘Breaking The Law’ and the brilliant and fun video for ‘Breaking The Law’. And the reason why that is is ’cause — this ties back to our first film, which is, I think, we’ve been on a journey to debunk stereotypes about heavy metal for over two decades now. And I think there still lingers that stereotype of heavy metal [that] it’s just about sex, drugs, and hedonism, and all of that. So a song like ‘Breaking The Law’ was very important to illustrate that Judas Priest, in 1980, had something very important and timely to say about the lives of working-class people in England at that time. And when I did the last interview with Rob and he said the line, ‘It’s a revolution song’ — thank you for delivering that line — that was a very important beat in the story for me.”

The first preview clip from The Ballad Of Judas Priest, featuring Rob Halford discussing the inspiration behind “Breaking The Law,” premiered through Rolling Stone. Check it out below.

The post ROB HALFORD Discusses Documentary “The Ballad Of JUDAS PRIEST” And The Fire Behind His Lyrics: “As I’ve Gotten Older, I’ve Gotten Angrier With the World” appeared first on Sonic Perspectives.

In a new conversation with Spiral Out, Danny Carey said Tool is deep into new material for the album that follows Fear Inoculum.

“[We’re] working on a lot of new Tool songs right now,” he said, adding that “the goal” is to release the next Tool LP in 2027.”

When the interviewer called Tool “a very cinematic band,” especially in a live setting, Danny Carey agreed quickly.

“Yeah, we’re very much into that,” he said. “We’re hoping when we release the new record, maybe do a stint at the Sphere [in Las Vegas] ’cause I think we’re the perfect band for that. We’ve been talking to those guys.”

He also explained what comes with that ambition. According to Danny Carey, “the preparation” for a Sphere-level production “is pretty intense.”

“It’s a very expensive endeavor, and it takes a while to get into the black. I think [you have to play] quite a few shows before you make any money.”

Asked if he has attended a full Sphere show yet, he answered: “Yeah. Well, I just took a tour of it. I haven’t actually seen a full-on show, but they took [us around the venue] to show it off. It’s incredible, man. I almost got vertigo [just looking around it].”

There is another big metal name in the same conversation around Vegas. A January report said Metallica was “90 percent” done negotiating terms for a 2027 Sphere residency after the band’s “M72” world run wraps in 2026.

That makes the next phase clear: the Sphere is now a real target for arena-level metal acts, and both Tool and Metallica are being discussed as major players there.

The post DANNY CAREY Reveals TOOL Is In Talks For Las Vegas Sphere Residency: “We’re The Perfect Band For That” appeared first on Sonic Perspectives.

For over a decade, NMB has stood as one of progressive rock’s most enduring and unified collectives. With their latest studio album L.I.F.T., set for release on the 27th February 2026, Neal Morse, Mike Portnoy, Eric Gillette, Bill Hubauer, and Randy George return with a work that embodies vision, passion, and inspiration. Written and recorded during a period of major transition, L.I.F.T. captures the band’s creative chemistry at its most instinctive and inspired.

Today, the band has revealed the third single from the album, titled “Reaching”, and you can listen now, below.

Neal comments: “’’Reaching’ became a really energetic track because of the way NMB approached it. My original sketch changed a lot when the band began to play it, and we all put our vocals on it. I sketched out a lot of the original lyrics in the hotel room that morning, and brought them in, and we banged them out pretty quickly, as I recall. We wanted to start it off with just vocals, as we always enjoyed that with NMB right from our first outing as a band on The Grand Experiment album. If you like this band, you’re gonna love this track!”

Conceptually, L.I.F.T. stands toe to toe with NMB’s greatest works, like their much-acclaimed concept album Similitude Of A Dream, combining emotional depth with the band’s trademark progressive rock grandeur.

“In short, L.I.F.T. is a prog concept album that follows the journey of someone seeking to belong to something greater than themselves,” Morse explains. “It starts with feeling connected to the world and life, then there is a break in belonging, after which comes the turmoil and desperate cry, leading to a return to that place of profound connection.”

The album title came late, though its meaning remains intentionally vague. “We thought it could stand for different things,” says Randy. “It’s kind of whatever the listener wants it to be.”

True to the band’s collaborative spirit, L.I.F.T. began with the usual whiteboard full of ideas, with columns under each member’s name filled with riffs and snippets. However, few of them made it onto the final album. “We hardly used any of the ideas on the board,” says George. “Most of it was written right there in the room, more so than in the past.” While Bill Hubauer contributed a few early sketches, and Morse improvised piano pieces that evolved into key themes, much of the music took shape spontaneously.

With artwork created by longtime collaborator Thomas Ewerhard, the L.I.F.T. will be available as a Limited 2CD Digipak (incl. instrumental versions), Standard CD Jewelcase, Gatefold 2LP & as Digital Download. Pre-order it now here.

The post NMB (NEAL MORSE BAND) Stream New Single “Reaching” From Forthcoming Studio Album “L.I.F.T.” appeared first on Sonic Perspectives.

Steven Wilson has locked in two exclusive Royal Albert Hall concerts for October 2026, and he already confirmed these will be the only times fans can see him live that year. For listeners in prog, hard rock, and adjacent heavy circles, this is a short window with a larger production setup than a standard tour show.

Both shows will feature Steven Wilson with his band, Parallax Orchestra, and a full choir, which points to a set built for scale and detail rather than a stripped-down run.

“I’m pleased to announce that I will be returning to the Royal Albert Hall for two very special performances on 10/28/2026 and 10/29/2026. These will be my only live shows of 2026. For these performances, I will be joined on stage by my band, the Parallax Orchestra, and a full choir.”

There will be an artist pre-sale starting on 02/18/2026 at 10:00 AM. Individual, unique codes will be sent out via email to SW Substack subscribers ahead of the window opening.

Please note that codes are limited in supply, so we cannot guarantee that everybody signed up will receive a unique pre-sale code.

• Pre-sale link: at this location.
• The general on-sale will follow on 02/20/2026 at 10:00 AM here.

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Godsticks have shared the first single from their long-awaited seventh studio album VOiD. The new track, titled “M.I.A.,” is the first glimpse into Godsticks’ darkest, heaviest, and most uncompromising album to date. With the single comes a new video produced by Martin Holmes.

Speaking about the new single, frontman and songwriter Darran Charles said: “Although I’ve no experience in the field of psychology, I’ve always been fascinated (and indeed tortured) by that voice in your head that goes under various guises such as ‘inner critic’ or ‘inner monologue’.

“Mine is a mouthy bastard that has an opinion on practically everything and never fails to offer it -incessantly. No amount of internal vitriol directed at it seems to quieten its destructively negative offerings. It never sleeps either – I could wake up at 4 am to use the bathroom and to my surprise and determent, it reminds me that it’s been up all night searching through the archives to remind me of some embarrassment I felt 25 years ago.”

“I always like to imagine this voice manifested in physical form, so when it tells me that it thinks I’m a terrible musician, or that I’m conceited, or that I’ve wasted my life away, or lists all the wrong decisions I’ve made over my life, then I could beat the living shit out of it. MIA is a song about that. And I think this same voice was responsible for writing the guitar and drum parts, because they were torturous too, and made us all question our ability as musicians at one point or another. We won in the end, though, so fuck you, me!”

Both lyrically and musically, VOiD reflects a disillusionment with a world increasingly defined by division, ideological rigidity, and the loss of nuance. The album documents a conscious withdrawal from the noise – a retreat into a personal void.

Drummer Tom Price and guitarist Gavin Bushell continue to play a vital role in the writing process, while the introduction of new bassist Francis George brings a subtle but important shift in the overall feel to the rhythm section.
 
“I cannot overstate the enormously positive impact Tom and Gavin have had on the writing process over the last few albums. Whilst the writing methods have rarely changed for me over the years, what has changed is that their contributions are indispensable and something I genuinely look forward to incorporating. I’ve lost count of the times on this album that they’ve provided or reinterpreted a part that has prevented the song from being binned because it wasn’t working. This is also the first time in 12 years that we’re working with a different bass player, too (Francis George), and that itself has offered a fresh perspective on arrangements and influenced the overall feel to the rhythm section. It’s a little different this time around.” – Darran Charles

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Dennis Atlas has announced the global release of his solo album titled Principle on May 15 via MRI. Today, he shares the lead single “Violent Power.” The anthemic track brings each listener into a world where humanity’s ability to thrive is so potent that the forces of violence are not just defeated, but instead have no bearing on existence in the first place.

The song features world-renowned drummer Marco Minnemann and Atlas on lead vocals, keys, bass, and guitar, and was co-written by Dennis Atlas and Steve Bonino. The official video was shot and directed by Toto frontman Joseph Williams. 

Atlas shares, “Joe and I were at my studio going over some vocals for the upcoming Toto tour. I showed him my rough draft for a video I had for ‘Violent Power,’ since he had expressed interest in helping me with this kind of stuff.  He completely altered what would become the world’s introduction to this album, steering the imagery, lighting, and videography into a vision that supported the song. Then, he even helped guide me down the right path with the editing. Once he was involved, what we came up with immediately made my rough draft look like a joke! It was night and day! I couldn’t be more thankful and appreciative of his time and support. And thank you to my good friends Marco Minnemann (on drums) and Steve Bonino (co-writer of this song) for making their cameos in this video! And to Sabrina at UnicornCat Artworks for the awesome animated album cover. To me, the video now perfectly encapsulates the energy of the song ‘Violent Power,’ ready for release as the lead single!”

Pre-order the album here.

Within the world of Dennis Atlas, his creative mission navigates a path that aspires to reach that place where integrity and excitement meet. His world is one where those two concepts are intrinsically tied. Integrity is met and honored in the form of honest raw authenticity. And when it comes to his presence, whether creating independently or as a member of Toto’s ensemble, it is no surprise he’s become a crowd favorite with electric energy that lights up any room or stage.

Atlas shares, “I love to make music that is concise and relatable, regardless of what form or length it takes; that’s always my aim. There has to be deep intention in what I am saying, why, and who I am saying it to. Then every note is potent with meaning and significance. That’s when I am able to carry it energetically into a sonic package that is unmistakable, memorable, and identifiable. In the form of these melodies and lyrics, it is this energy exactly that I hope people think of when they hear the name Dennis Atlas.”

With this new album titled Principle, Atlas reflects, “The spontaneous, and the hyper-critically considered (planned) both meet into one explosive container that is each of the audio files of these 11 songs. I hear months of planning and moments of levity/epiphany both bred into the fabric of what makes this album what it is. It is both exciting and deeply-rooted fulfillment to listen back to these works, and to smile at the good feelings that I have associated with the contributions from everyone involved.”

And that list of contributors is deep, featuring performances from Steve Lukather, Bumblefoot, David Paich, Joseph Williams, Shannon Forrest, Warren Ham, Marco Minnemann, Steve Bonino, and others. The album was mixed by Trev Lukather and mastered by Bumblefoot. The album art and logo design — the work of Sabrina Lau at UnicornCat Artworks.

Atlas grew up in Santa Clarita, California, right next to one of the biggest and best rollercoaster amusement parks in the world, with a loving family (Mom, Dad, and big brother) who taught him everything he carried with him tied to loving life. Like many, he and his brother started a band in their early teens.  He was influenced by bands including Styx and Queen, who unapologetically took any stylistic approach to music that authentically excited them, and put it across in a way that millions or billions of the public could sing along to and also dig deeper.

He was encouraged as a young man to be creative, and shares, “I never wavered or remember wanting anything else than to be a rockstar.” As he reflects on the past, he recalls, “I’m glad I had a lot of the failures and successes I had before the Toto call came along. There was so much I learned about preparedness, attitude, and simply the context (perspective) of what choices are out there. I also experienced being at home with no gigs and no money, simply working deeper on my own craft, or even having a temporary loss of motivation, then having to find and discover what excites/excited me again. All of this played a huge part in deeply respecting and truly cherishing the situations I do get the privilege of being involved in, and especially the position I have now.”

Atlas is as well-grounded a young man walking planet Earth as there is. He concludes, “I am so indescribably lucky to have a team and band around me that is not only so great and so legendary, but so supportive of me and what I do. I’ve heard of musicians getting fired from a gig for mentioning their solo material in an interview. Yet, here I am with a whole group of bandmates who all wanted to play on my album.  It’s a dream I couldn’t have even dreamed up. So here we go into dreams of as many rollercoasters (and other cool experiences) as we can ride together through the power of this music!”

The post TOTO’s Keyboardist DENNIS ATLAS Announce Solo Album “Principle”, Shares Music Video For First Single “Violent Power” (Featuring MARCO MINNEMANN) appeared first on Sonic Perspectives.

In a new interview with Jonathan Cornell of Immersive Audio Album, Steven Wilson shared a substantial update on the album he is building after The Overview. The short version is that the record is close to done, but the direction is intentionally different from what he released last year.

“Yeah, it’s almost finished, actually. It’s a very strange record. It’s the complete opposite of The Overview, which was a very lush, very big record and also about a very large — well, the largest possible subject matter you can imagine, literally the cosmos as we know it. This is a much more insular record. It’s still very conceptual. It’s still very experimental, and the pieces are — well, it feels like another single piece of music to me, in that sense. But it’s much more angular and experimental in a way that I’m really excited about. And that’s all I can really say at the moment. Very different again,” Wilson described (as transcribed by Blabbermouth).

For listeners in the prog and heavier space who follow Wilson for detail and atmosphere, his comments on production are probably the biggest takeaway. He described a studio approach that stays layered, but leans harder into sound design, mono placement, texture, and contrast rather than pure scale.

“The way I make records is, by definition, pretty layered. I love the possibilities of the studio. I love overdubbing. Now, on this particular new record I’m making, there’s a lot of what I would call sound design elements. Now, that’s not to say they haven’t been on all my records, but let’s just say I’ve taken it to another level on this record. There’s a lot of sound design. There are a lot of sound effects that kind of place you in a particular place and a particular feeling. And there’s a lot of use of lo-fi sounds as well, keeping things sometimes in mono… But I’m making a lot of decisions on this album to keep things very small and mono, but also knowing that those things can be just as impressive in surround because you’ve got something very small and mono. You can place it very discreetly in a particular place in the room,” he explained.

“Sometimes when you have things that have been tracked four or five times, they’re kind of coming from everywhere. But sometimes what’s also nice in spatial audio is having something that’s just mono and being able to place it very, very particularly in a particular place. And that can be just as effective in spatial sound as the big immersive sound. So I’m using a lot of mono reverbs, spring reverbs. It all kind of relates to the concept of the record, which I can’t really talk about at the moment, but keeping things sounding almost old and rusted. And I think those are gonna be really effective in spatial audio, because I’ve got a lot of those kinds of elements. I’m playing a lot of instruments I’ve never played before. I’m playing the drums on some tracks myself. I’m playing violins, oboes, and harmoniums. It’s a very — I don’t wanna say it’s a nostalgic-sounding record, because it isn’t. There’s a lot of use of modern technology, too. But, yeah, it’s gonna be a strange record, and I think it’s gonna be a really interesting — the kind of [Dolby] Atmos mix I’ve never done before, in the sense of all these little details and things that will be very discreetly, particularly placed in a speaker or a position in the room,” Wilson added.

Outside the new studio album, Steven Wilson also launched Headphone Dust, a new platform focused on high-resolution stereo, 5.1, and Atmos/spatial editions of his catalog. The first title there is Impossible Tightrope: Live In Madrid, capturing the final night of the 2025 European leg of The Overview tour as a full two-hour show in Stereo, 5.1, and Atmos, and he confirmed it has no physical edition planned.

Headphone Dust also now carries a new Dolby Atmos mix of The Raven That Refused to Sing, plus high-res versions of The Overview, The Harmony Codex, and more. A new Atmos mix of Hand. Cannot. Erase. is expected “soon.”

The post STEVEN WILSON Talks “Almost Finished” New Album: “It’s A Complete Opposite Of ‘The Overview’, Much More Angular And Experimental” appeared first on Sonic Perspectives.

West Coast thrash metal legends Metal Church have released the next piece of music from their 14^th studio album, Dead To Rights, scheduled for release on April 10 via Rat Pak Records.

“Brainwash Game” is a clinic in metal that the new lineup featuring founding guitarist Kurdt Vanderhoof alongside longtime guitarist Rick Van Zandt, joined by bass icon David Ellefson, powerhouse drummer Ken Mary, and dynamic new vocalist Brian Allen put on full display throughout the new album. 

“‘Brainwash Game’ is really about the machinery behind the curtain,” says founding guitarist Kurdt Vanderhoof. “We’re living in a time where the modern media cycle and the internet move so fast that truth often gets twisted, filtered, and repackaged to fit whatever narrative sells the most clicks. It’s not always about informing people anymore — it’s about steering them. The song dives into that idea of manipulation, how repetition and outrage can blur the lines between fact and fiction until people don’t even realize they’re being conditioned. It’s heavy, it’s aggressive, and lyrically it’s meant to challenge listeners to think for themselves in a world that constantly tries to think for them.”

A performance video for “Brainwash Game” – directed by Rick Moyer – can be seen below.

From the aggressive opening assault of “Brainwash Game” to the riff-driven finale “My Wrath,” Metal Church prove they still possess the same relentless drive that has earned them fans for over four decades. Tracks such as “Deep Cover Shakedown,” “The Show,” and “Wasted Time” deliver the signature sound the band has long been known for. The album’s first single, “F.A.F.O.,” was released last November, with its accompanying video surpassing 425,000 views to date. Dead To Rights was produced by Kurdt Vanderhoof and mixed and mastered by Zeuss at Planet Z.

“This new album is very special to me for one reason: the band was over, and I honestly didn’t see it being resurrected. But somehow, it brought itself back to life—again!” exclaims Kurdt Vanderhoof.  “I’m incredibly proud of these new songs; they hit hard. Brian Allen brings the classic Metal Church sound to the vocals, and adding a rhythm section with musicians of the caliber of Dave Ellefson and Ken Mary makes this a force to be reckoned with. If you enjoy classic Metal Church, you’re going to love this record.”

Pre-order Dead To Rights in various bundles here.

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Legendary heavy metal powerhouse Nevermore have signed with Reigning Phoenix Music. The band also welcomes to the line-up Jack Cattoi on guitar, Semir Özerkan on bass, and new vocalist Berzan Önen. To showcase the new lineup, Nevermore‘s first live appearance will take place on April 1st, 2026, in Istanbul, Turkey.

On this new chapter, guitarist Jeff Loomis and drummer Van Williams share: “We are thrilled to announce that Nevermore has officially signed with Reigning Phoenix Music! It was obvious from the start that they were the perfect partner for the new era of Nevermore. Their passion for metal music, combined with the extensive industry pedigree of their team, made the choice easy. We can’t wait to get back on stage in front of our fans in Istanbul on April 1st, and we are just as excited to finish writing and putting together the new Nevermore album!”

Reigning Phoenix Music Co-Founder Gerado Martinez comments on Nevermore joining the RPM roster: “There are no words to describe how proud and excited RPM is at the prospect of being part of Nevermore‘s next chapter. Having been a fan since 1995 when I saw them on tour with Death, I’ve followed them on their entire musical journey and cannot wait for what is yet to come.”

Directed and produced by Ola Englund, Nevermore has released a documentary film showcasing their rehearsals in January of this year at Swans Neck Soundworks in Väderstad, Sweden. Featuring powerful, raw performances of their tracks, including “The River Dragon Has Come”, “Engines of Hate”, and “The Heart Collector”, it offers a thrilling insight into the band’s new era. 

The film also sees guitarist Jeff Loomis and drummer Van Williams discuss their decision to bring Nevermore back, introduce the new members, and reveal their thoughts throughout the audition process. Additionally, Loomis and Williams share news of forthcoming festival appearances across 2026 and future plans for Nevermore. Watch it below.

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