Author: Editorial Team

The 2026 concert calendar just got even busier for Hunnu Rock pioneers The Hu and cello metal standouts Apocalyptica as the bands announce today that they’ll be hitting the road together for a run of shows this May and June. The tour kicks off on May 12 in Silver Spring, MD, and will take them across the country before wrapping in Anaheim, CA, on June 7. Joining The Hu and Apocalyptica will be platinum-selling Finnish rock band The Rasmus.

Public on-sale for the tour will begin Friday, February 13th at 10 AM local time. Official artist presales for The Hu and Apocalyptica will be available starting Wednesday, February 11th at 10 AM local time through Thursday, February 12th at 11:59 PM.

Venue presales will be available on Thursday, February 12th, from 10 AM to 11:59 PM local time. Special VIP packages, including meet and greet experiences and exclusive merchandise, will also be available for purchase. Fortickets and additional information on VIP packages, visit here pre-sale code ‘THEHUN’ and this location pre-sale code  ‘CELLOS’.

In addition to closing all shows on this tour, The Hu are celebrating the recent release of their latest single, “The Real You”.

“The Real You single is the representation of our new album, The Hun,” says Temka – Temuulen N (band’s tovshuur player, throat singer). “While we have traditional songs that have our signature rhythm in our third album, there are a few upbeat, fast songs such as this single. We recorded this song thinking of our ancestors, riding fast on horseback through the landscape. Listen to this song to express the feelings you have buried inside and feel the overwhelming energy we pass through to you. Enjoy.”  

“The Real You” is one of the few songs from The Hu in which Western music components are prominent. As evident in the wording, the song is asking the listeners not judge others but focus on themselves and to become a better person. Derived from the Mongolian proverb, “Don’t worry about what is on top of a person’s head, just worry about what is not on yours.”

Formed in 1993 at the world-renowned Sibelius Academy in Helsinki, Finland, Apocalyptica began life as a loving, lo-fi nod to Metallica from four classically trained musicians with no greater ambition than to explore their favorite band’s music with their chosen instrument.

The project would take on a life of its own when they finally released Plays Metallica By Four Cellos in 1996. Unbeknownst to Apocalyptica, they’d just boarded a rocket ship that would propel them through eight rapturously received records, a staggering six million records sold, and a relentless touring schedule that would see them bringing their uniquely symphonic concept of heaviness to every time zone and countless festival stages around the world. Most recently, following the 25^th anniversary of their debut record, the band released their latest album, Plays Metallica, Vol. 2, to widespread acclaim.

The Hu and Apocalyptica Spring 2026 Tour Dates

• 5/12/2026 — Silver Spring, MD — The Fillmore
• 5/13/2026 — New York, NY — Palladium Times Square
• 5/14/2026 — New Haven, CT — College Street Music Hall
• 5/15/2026 — Stroudsburg, PA — Sherman Theater
• 5/18/2026 — Milwaukee, WI — The Rave / Eagles Club
• 5/19/2026 — Green Bay, WI — EPIC Event Center
• 5/20/2026 — Maplewood, MN — Myth Live
• 5/22/2026 — Memphis, TN — Minglewood Hall
• 5/23/2026 — Irving, TX — The Pavilion at Toyota Music Factory
• 5/24/2026 — San Antonio, TX — Aztec Theatre
• 5/26/2026 — Houston, TX — Warehouse Live
• 5/27/2026 — Oklahoma City, OK — Diamond Ballroom
• 5/29/2026 — Phoenix, AZ — The Van Buren
• 5/30/2026 — Las Vegas, NV — The Theater at Virgin Hotels
• 5/31/2026 — Valley Center, CA — Harrah’s Resort SoCal – The Events Center
• 6/04/2026 — Reno, NV — Grand Theater
• 6/06/2026 — Los Angeles, CA — The Wiltern
• 6/07/2026 — Anaheim, CA — House Of Blues

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In a new chat with Finland’s Chaoszine, Megadeth guitarist Teemu Mäntysaari pulled back the curtain on how the band built Megadeth, the group’s self-titled final studio album, released late last month through Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s BLKIIBLK label.

For fans expecting a quick, high-pressure sprint, Teemu Mäntysaari described almost the opposite. The album took time, and the atmosphere inside the room stayed focused and calm: “It was a lengthy process, I guess — 10 months in the studio. [So it was] pretty intense in that sense, but also, I think, very enjoyable, kind of, I’d say pretty relaxed, because we were kind of in this bubble the whole time.”

“It seems like the songs came together pretty spontaneously,” Mäntysaari continued (via Blabbermouth). “A lot of the songs started out as kind of improvised jams with all the guys, and all the bandmembers got involved quite heavily, so that was really nice to have everybody’s contribution included.”

“Going to the recording of the new album, I tried not to stress about it too much,” Teemu explained. “Of course, you could start thinking, what about the legacy of the band? How do you compete with the previous classic albums? But I tried not to think about it too much. Of course, freely taking kind of influence from the different, great eras of the band, but at the same time trying to create something fresh and new. And we felt like trying to include the current bands, really the band sound in there, the sound that we’ve developed now playing together live for a few years, and how tight we’ve gotten together and tried to put that on the album and make the kind of Megadeth album that we would ourselves love to hear as well.”

That mindset becomes even clearer in how pre-production was handled. Teemu said Dave Mustaine wanted the full band involved early, including riff ideas from everyone, and then took the group through a deep catalog study before tracking began.

“My contribution to this album, first of all, was kind of a surprise that Dave wanted to include us bandmembers so much. So pretty early on, he asked me and the guys if we had some riff ideas, and then we should start saving them because at some point we were gonna start recording the album. And so we did,” Mäntysaari recalled.

“And then we basically started pre-production by listening through the whole Megadeth catalog, all the songs, including all the bonus tracks and cover tracks, alphabetically, over 200 songs. We listened, and we made notes, like what we liked in the songs, and what some of the parts were that we could use maybe as an inspiration or a catalyst to inspire ideas for the new album,” he explained. “And Dave was telling us stories, like how he came up with lyrics and little backstories, like how the songs originally came to be. So that was a big inspiration to get the creative minds working.”

“Then we went to the studio late in 2024, and then stayed in the studio until ’25, August, September. In the studio, we had a really nice setup where it was like this one really big room. One corner had the recording equipment in there, all the amps and whatever you need, a recording booth for acoustic guitars and vocals.”

“And then in one side of the big room, we had all our live equipment, so the full live setup, basically, so we could anytime go there and jam with the guys and come up with these ideas, which is then how a lot of the songs kind of started,” Teemu continued.

“We just sat down and maybe had a little snippet of an idea, and then developed that together. Or maybe even didn’t have any idea, but somebody just started playing, and the other guys joined in, and we had the producer recording everything. And then soon we had starting points for a lot of songs.”

The commercial response backed up that approach right away. Megadeth opened at No. 1 on the U.S. chart with 73,000 equivalent album units for the tracking week ending January 29, based on Luminate data. Most of that came from pure purchases, with 69,000 in album sales. It is a strong launch for a closing chapter, and it positions the follow-up to The Sick, The Dying… And The Dead! as both a fan-supported release and a collaborative statement from this lineup.

The post TEEMU MÄNTYSAARI Says MEGADETH’s Final LP Was Built As A True Band Effort: “It Was Really Nice To Have Everybody’s Contribution Included” appeared first on Sonic Perspectives.

The rock world has lost a major voice this weekend. 3 Doors Down singer and founding member Brad Arnold has died at 47. The news was shared by his bandmates on social media today (Saturday, 02/07).

Back in May 2025, Arnold publicly revealed he was fighting clear cell renal cell carcinoma (ccRCC), a form of kidney cancer. The band confirmed his passing with the following statement:

“With heavy hearts, we share the news that Brad Arnold, founder, lead singer, and songwriter of 3 Doors Down, passed away on Saturday, February 7th, at the age of 47. With his beloved wife Jennifer and his family by his side, he passed away peacefully, surrounded by loved ones, in his sleep after his courageous battle with cancer.”

“As a founding member, vocalist, and original drummer of 3 Doors Down, Brad helped redefine mainstream rock music, blending post-grunge accessibility with emotionally direct songwriting and lyrical themes that resonated with everyday listeners. Brad‘s songwriting became a cultural touchstone for a generation, producing some of the most enduring hits of the 2000s, including the band’s breakout hit, “Kryptonite”, which he wrote in his math class when he was just 15 years old. His music reverberated far beyond the stage, creating moments of connection, joy, faith, and shared experiences that will live on long after the stages he performed on.”

“Above all, he was a devoted husband to Jennifer, and his kindness, humor, and generosity touched everyone fortunate enough to know him. Those closest to him will remember not only his talent, but his warmth, humility, faith, and deep love for his family and friends.

“The family is deeply grateful for the outpouring of love and support during this difficult time and kindly asks that their privacy be respected. “He will be deeply missed and forever remembered.”

For the fans, Brad Arnold was one of those artists whose songs became part of people’s daily lives. His voice and writing connected because they felt real, and that connection is exactly why this loss hits so hard.

View this post on Instagram

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One of progressive music’s most fearless and innovative figures, six-time-Grammy Award-nominated musician, songwriter, and producer Steven Wilson has announced the launch of Headphone Dust, a new online platform dedicated to offering high-resolution, 5.1, and Atmos/spatial audio editions of Wilson‘s work.

The platform’s first release is Impossible Tightrope: Live In Madrid, which captures the final night of the 2025 European leg of Wilson‘s The Overview tour and includes the full two-hour show mixed in Stereo, 5.1, and Atmos.

There are no plans for a physical release of this recording; it is exclusive to Headphone Dust. Also available now is a brand-new Dolby Atmos mix of Wilson’s 2013 album, The Raven That Refused to Sing, alongside high-res editions of The Overview, The Harmony Codex, and more. A new Atmos mix of 2015’s Hand. Cannot. Erase. will follow “soon”.

Wilson says: “I am thrilled to announce the launch of Headphone Dust, a new online platform dedicated to studio-quality immersive sound. For some time, I’ve wanted a permanent home for my work where listeners can hear the music exactly as I envisage it, without compression or compromise, and in every audio format available.”

“While I remain committed to the Blu-ray format, I know they are not practical for everyone, and physical releases often go out of print. Headphone Dust solves this with ‘Definitive Digital Editions’ which establish the MKV format as a ‘virtual Blu-ray,’ making high-res, 5.1, and Dolby Atmos mixes as easily accessible as possible.”

Headphone Dust is open now at this location.

Wilson is one of contemporary music’s most visionary auteurs — a six-time Grammy nominee, revered producer, and boundary-pushing composer whose work fuses cinematic ambition with emotional depth. He first gained recognition with Porcupine Tree, pioneering modern progressive rock, and has since crafted a dynamic solo catalog that includes The Harmony Codex, Grace For Drowning, and Hand. Cannot. Erase.

A musical polymath and spatial audio pioneer, Wilson has remixed the work of King Crimson, Tears For Fears, Pink Floyd, XTC, Black Sabbath, Grateful Dead, Chich and The Who, among many others, bringing a new dimension to classic albums with his meticulous touch. His own music wrestles with existential questions — alienation, technology, mortality — delivered with both poetic lyricism and sonic boldness.

His most recent album, The Overview (written, produced, and mixed by Wilson), is a high-concept, long-form experience inspired by the cosmic awe of space and the human condition. Read our album review here.

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Twisted Sister has called off every previously announced 2026 reunion show, citing what the camp described as “a series of health challenges” affecting frontman Dee Snider.

Behind the cancellation is a long physical toll from decades of high-intensity performance. According to the announcement, Dee Snider has been managing degenerative arthritis, has already gone through multiple surgeries, and has recently learned that the same all-out pace also impacted his heart. The message is clear: he can no longer perform at the level he built his name on.

In a public statement posted by Jay Jay French and Eddie Ojeda on behalf of management, the band shared: “With regrets, Twisted Sister cancels 50th anniversary celebration performance. Due to the sudden and unexpected resignation of Twisted Sister‘s lead singer Dee Snider brought on by a series of health challenges, the band has been forced to cancel all shows scheduled, beginning 04/25 in Sao Paulo, Brazil, and continuing through the summer. The future of Twisted Sister will be determined in the next several weeks. Stay tuned for updates.”

Dee Snider also issued his own statement: “I don’t know of any other way to rock. The idea of slowing down is unacceptable to me. I’d rather walk away than be a shadow of my former self.”

Before this change, the 2026 run was set to include three core members: Dee Snider, Jay Jay French, and Eddie Ojeda. Mark “The Animal” Mendoza was not part of the planned reunion lineup. Russell Pzütto was set to handle bass duties, and Joe Franco was slated for drums in place of late drummer A.J. Pero.

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Just in time for Valentine’s Day, The Warning, the rock sister-trio from Monterrey, Mexico, teams up with award-winning regional Mexican superstar Carín León on a brand-new collaborative single and music video titled “Love To Be Loved”, out now via Lava/Republic Records.

The Warning notably co-wrote the track alongside vocal powerhouse and superstar artist Teddy Swims, Rob Grimaldi, Anton DeLost, Boy Matthews, and Neil Ormandy. Meanwhile, the band worked with producers Grimaldi and DeLost to bring the song to life. Breaking the mold, it notably marks Carín‘s first-ever collaborative release, sung entirely in English.

“We are so excited about this song. As a rock band, this is something completely different for us and a chance to explore new sounds,” The Warning shares. Originally co-written with Teddy Swims, the song naturally blends country, rock, and pop in a way that felt fresh and inspiring from the start. Blending musical worlds is always exciting, and working with our fellow Mexican artist Carín León made the experience even more special. It’s a collaboration that pushed us creatively and shows a new side of The Warning.”

“Love To Be Loved” tears down genre walls, finding common ground between these two distinct forces. León sets the tone for the track, delivering an emotionally charged verse with spirit and soul. His heartbroken delivery rests uneasily between the crunch of distorted power chords and a thick rhythm from The Warning. Boosted by heavy riffing and a Richter scale-worthy rhythm, vocalist and guitarist Dany Villarreal carries the chantable chorus, “I just need love to be loved, to be loved, to be loved — by you.”

Fresh off his Grammy win this week, Carín shares: “I’m truly happy and excited about this collaboration with these amazing artists, The Warning, a band I deeply admire that reaffirms to me that Mexican music and Mexican rock are far from dead — they’re more present and stronger than ever. I’m also really grateful to collaborate alongside artists with such important projects for Mexican music and culture, and to be able to release this great song together. I truly hope people connect with it, appreciate it, and carry it in their hearts for a long time.”

The accompanying cinematic visual finds León and the girls holed up in a gritty dive bar. Amid tense card games, slot machines, and rounds of pool and darts, they keep winning…but none of it matters. Beneath the bravado, all they’re really searching for is love. Eventually, they take the stage and deliver a once-in-a-lifetime karaoke duet for the crowd gathered on the dancefloor of this dive.

This weekend, The Warning will be present during the Super Bowl on Sunday, February 8 as the NFL Mexico special guests. Most importantly, everything sets the stage for more to come in 2026 from The Warning.

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West Coast thrash metal legends Metal Church are returning with their 13^th studio album, Dead To Rights, scheduled for release on April 10 via Rat Pak Records. Dead To Rights was produced by Kurdt Vanderhoof and mixed and mastered by Zeuss at Planet Z.

The album marks the first release from the band’s latest 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.

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 400,000 views to date. 

“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.

Metal Church plan to tour extensively this year on the Dead To Rights Tour 2026. A few dates have been announced with more to come. All information on touring plans and links to tickets can be found here. 

“Dead To Rights” Tour 2026 Dates

• 05/17 – San Luis Potosí, Mexico – San Luis Metal Fest 
• 07/30 – Copenhagen, Denmark – Pumpehuset (w/ Armored Saint)
• 07/31 – Ostergotland – Sweden – Skogsröjet Festival 
• 08/01 – Gothenburg, Sweden – Pustervik (w/ Testament & Armored Saint)
• 08/02 – Lund, Sweden – Mejeriet (w/ Testament & Armored Saint)
• 08/04 – Kiel, Germany – Die Pumpe (w/ Testament & Armored Saint)
• 08/05 – Josefov, Czech – Brutal Assault Festival
• 08/07 – Cologne, Germany – EssigFabrik (w/ Testament & Death Angel)
• 08/08 – Kortrijik, Belgium – Alcatraz Festival
• 08/09 – Geiselwind, Germany – Keep It True Festival 
• 08/11 – Karlsruhe, Germany – Substage (w/ Testament & Death Angel)
• 08/12 – Obertraubling, Germany – Eventhall Airport (w/ Testament & Death Angel)
• 08/13 – Krakow, Poland – Klub Studio (w/ Testament & Armored Saint)
• 08/14 – Leipzig, Germany – Parkbuhne (w/ Black Label Society)
• 09/18 – Westland, MI – The Token Lounge 
• 09/19 – Madison, WI – Blades of Steel Metal Festival

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Listening to Eva Under Fire is like hard rock therapy, turning scars and demons into anthems of inner strength. Nowhere is that clearer than on the Detroit band’s latest single, the sonically fierce and lyrically razor-sharp “Murder Scene,” released today, February 6, via Better Noise Music.

“‘Murder Scene’ explores eating disorders, body dysmorphia, self-doubt, and how dreams can become nightmares when the same people who once cheered for you are now criticizing you,” says singer and songwriter Amanda Lyberg. “The dream of being on stage comes with a spotlight on my personal flaws. I’m just a body. To be picked apart and judged and perceived. Anxiety is a liar in my head. It tells me I’m not good enough to be here. So, I fight it. I changed my name and my image to prove it wrong. Still the anxiety gets louder. I think it’s trying to kill me. In a world so desensitized, it feels like death has been redefined as a minor inconvenience. I’m insecure about my body so anxiety might win. My skin is crawling, and every part of my body feels wrong. Maybe I’ll call a doctor and get it altered. Maybe if I don’t eat, I’ll feel better.”

“Murder Scene” is the follow-up to the blistering and inspirational anthem “Awakening,” released October 17 via Better Noise Music. It was the first taste of new music in two years from the Detroit, MI quintet.

For all of Eva Under Fire‘s new music, Amanda drew on her career as a licensed therapist to foster an open dialogue among the band members, empowering everyone to be heard during the recording. Her work in therapy started in 2018 when she graduated with a Master of Arts in Psychology degree and went on to work at a mental health clinic in Detroit, Transcendence Behavioral Health (owned by Dr. Stephanie Williams). That same year, her father passed away due to a fentanyl overdose. Her mother survived the same batch that killed her father and has been sober for the past six years. In addition to her thriving and busy music career, Amanda is currently a practicing psychotherapist specializing in trauma work, grief and loss, and addiction recovery.

Her story turned into a 2023 short film, My Rockstar, which used Eva Under Fire music throughout, and has won over 20 awards in several film festivals including Orlando Film Fest, Wild Rivers Film Festival, Toronto WILDfilm Festival, and many others.

In touring news, Eva Under Fire will hit the road for a six-week U.S. tour with Jeris Johnson and Butcher Babies starting February 8 in Portland, OR. Later this summer, Eva Under Fire has been announced as a support act tour along with Cody Jinks for Five Finger Death Punch’s 20th Anniversary World Tour 2026.

View all of Eva Under Fire‘s current tour dates here.

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From protégé to torchbearer, Joe Bonamassa honours his hero B.B. King with today’s release of B.B. King’s Blues Summit 100. The expansive 32-song tribute starring 40+ special guests was curated and produced by Joe Bonamassa in celebration of B.B. King’s 100th birthday. Released via Bonamassa’s KTBA Records, the album arrives as the culmination of a months-long rollout before revealing the full scope of King’s enduring influence.

The idea for the project emerged when Bonamassa realized that, despite King’s towering stature, no definitive musical tribute was taking shape around the centennial. “What we figured out was that nobody was really doing a tribute record to him,” Bonamassa explains. “It wasn’t really on anyone’s radar. So in January of 2025, we decided to start the B.B. King Blues Summit 100 album.”

At the center of the completed album is the long-anticipated recording of “The Thrill Is Gone,” featuring Eric Clapton and Chaka Khan. One of the most iconic recordings in the blues canon, the song represented both an opportunity and a responsibility. From the outset, Bonamassa and co-producer Josh Smith approached the track with a singular focus: honor the weight of the original by giving the artists the space, support, and trust to deliver it honestly.

“You can’t do a B.B. King tribute record and not do ‘The Thrill Is Gone,’” Bonamassa says. “It’s such an iconic song, and it’s a big ask.” When it came time to record it, there was no room for compromise. “For Eric Clapton and Chaka Khan doing ‘The Thrill Is Gone,’ we used real strings, real horns. The budget was whatever it cost, because you only get one chance to do this correctly. And I think we nailed it.”

That philosophy guided the project as a whole. With more than 50 artists contributing across 32 tracks, the production process could easily have become unwieldy. Instead, Bonamassa found the opposite to be true. “Everybody showed up and brought their A-game,” he says. “Dealing with 32 songs and all those artists, to have little to no resistance on anything, you go, ‘Okay, we’re doing this right.’”

Rather than assembling a traditional compilation, Bonamassa and Smith built the album from the ground up, recording core tracks first and then inviting artists to step into songs that carried personal meaning for them. “We weren’t making sound-alikes,” Bonamassa notes. “We played it in the spirit of B.B. King, but we did our own versions.”

Produced with the full support of the Estate of B.B. King and The B.B. King Music Company, Blues Summit 100 brings together an intergenerational group of artists spanning blues, rock, soul, and beyond. Across its 32 tracks, the album features performances from Buddy Guy, Gary Clark Jr., Keb’ Mo’, Susan Tedeschi, Derek Trucks, George Benson, Christone “Kingfish” Ingram, Marcus King, Warren Haynes, Dion, Larkin Poe, Joanne Shaw Taylor, Bobby Rush, Michael McDonald, Slash, Aloe Blacc, Trombone Shorty, and many others.

Bonamassa describes the line-up as intentional, not exhaustive. “We wanted a good cross-section,” he says. “Artists who are icons, and artists who maybe aren’t as well known yet.” The result, he believes, is something rare. “In my opinion, this is the greatest gathering of blues artists in the last 50 years for a bespoke album that started from scratch. And it came together because of B.B. King himself. No other person could have made this happen.”

The project was first announced on September 16, 2025 – B.B. King’s 100th birthday – with the release of its opening tracks and a commitment to a slow, intentional rollout. Over the following months, Blues Summit 100 unfolded in stages, allowing individual performances to stand on their own before revealing the album’s full arc. Along the way, the project drew national attention, including a CBS Mornings feature exploring Bonamassa’s early relationship with King and the deeper motivation behind the album, as well as recognition from Esquire, which named it among the Most Anticipated Albums of 2026.

At its core, Blues Summit 100 is rooted in Bonamassa’s own history with King, who first invited him on tour at age 12. That early mentorship shaped not only Bonamassa’s musical path, but his understanding of responsibility, generosity, and stewardship within the blues community. Those values guide the project throughout – from the way artists were approached to the care taken in honoring the material.

B.B. King’s Blues Summit 100 is available now on all digital platforms, as well as in physical formats including a double CD and a 180-gram triple LP vinyl edition. Proceeds from the project support the Keeping the Blues Alive Foundation, extending King’s legacy through education, preservation, and direct support for musicians.

As the album arrives in full, Bonamassa continues to bring its spirit to the stage throughout 2026, with select performances featuring artists connected to the project and tributes woven into his live shows. Together, the album and its ongoing life onstage reflect the central idea behind Blues Summit 100: that the blues endure through care, collaboration, and a shared commitment to doing the music right.

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King Ultramega have released a powerful new single, a cover of “Preaching The End Of The World”, recorded in loving memory of Chris Cornell while raising funds and awareness for MusiCares, the Recording Academy’s nonprofit that provides mental health services, addiction recovery support, and emergency assistance to members of the music community.

Originally written and performed by Chris Cornell, “Preaching The End Of The World” remains one of the most emotionally resonant songs of his solo career. The new interpretation from King Ultramega preserves the emotional core of the original while expanding its sonic landscape with layered guitars, cinematic keyboards, and a dynamic, atmospheric arrangement.

The recording features vocals by Ian Thornley of Big Wreck, guitars by Pete Thorn, bass by Mark Menghi, keyboards and synth by Dave Kerzner and Frank Mitaritonna, and drums by Kenny Aronoff. The track was produced by Mark Menghi, engineered by Frank Mitaritonna, Dave Kerzner and Mark Menghi, mixed and mastered by Josh Wilbur, with cover artwork and video created by Costin Chioreanu. Original music by Chris Cornell.

Speaking about joining the project, Ian Thornley said: “Pete Thorn is a dear friend and fellow Canadian who I know played with Chris Cornell for many years. He’s a great musician, and we’re always looking for projects to do together, so it was a quick ‘yes’ from me.”

Kenny Aronoff shared: “I wanted to be part of this project because I know Mark was involved, and I’ve always been a huge fan of anything Chris Cornell on so many levels. “Preaching The End Of The World” is an amazingly beautiful song, and Chris’s vocal performance is one of the most passionate and emotional vocal performances I have ever heard.”

Producer and bassist Mark Menghi reflected on the song’s meaning, saying, “It’s a song about loneliness and searching for connection, something I can relate to. Just listen to the lyrics of this song. Chris is authentic, emotional, and vulnerable.”

Pete Thorn also looked back on performing the song live with Cornell. “‘Preaching The End Of The World’ is a beautiful song that I always enjoyed performing with Chris during my time on tour with him. I remember a show in Tel Aviv where he talked about writing it during a dark time, but ended by saying, ‘but I made it!’ I always think about that in a positive way. He made it for a long time, and we should all be thankful for that.”

Discussing the musical direction, Menghi added: “When I chose this song for King Ultramega, I had a late 60s Beatles production vibe in mind. I tried to honor what made Chris’s original recording so special, not only instrumentally but in the production as well.”

Ultimately, the musicians view “Preaching The End Of The World” as a defining piece of Chris Cornell’s artistic legacy, and hope this tribute both honors his songwriting and helps support members of the music community through MusiCares.

The LP featuring “The Day I Tried To Live” and “Rusty Cage” is available exclusively on the Reigning Phoenix Music EU and US webstore, Soundgarden webstore, and King Ultramega webstore.

A limited run of 500 purple vinyls (available to US purchasers) and 300 lilac vinyls (available to European purchasers) are available.

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