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.
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.
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 (FrancisGeorge), 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
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!”
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!”
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.”
West Coast thrash metal legends Metal Church have released the next piece of music from their 14th 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.”
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.
After making a strong impact with its first edition last year, Bloodstock’s Winter Gathering is set to return for another full day of indoor metal mayhem. The event takes over KK’s Steelmill in Wolverhampton on Saturday, December 5, bringing the festival spirit back into a more intimate setting — but with no shortage of volume.
The venue sits about a 20-minute walk from Wolverhampton station, with cheap all-day parking close by. Food will be available throughout the day, along with a fully stocked bar accepting cash, card, and contactless payments. A cloakroom will also be on hand for anyone arriving bundled up for December weather.
Doors open at 2 PM, with bands running from 3 PM through 11 PM across two stages, locking in eight straight hours of live metal.
Headlining the main stage are Greek extreme metal veterans Rotting Christ, bringing decades of black metal atmosphere and commanding live presence.
Also on the bill are Ukrainian blackened death outfit 1914, known for their World War I-inspired intensity, and Leeds crossover thrash crew Pest Control, who deliver fast, sharp aggression.
Slam chaos merchants Party Cannon are also confirmed, alongside theatrical riff-heavy fantasy pirates Red Rum. Doom fans can expect something darker from classic heavyweights Witchsorrow, while punk-tinged prog starters Square Wild open the day’s main stage action.
The second stage will be topped by UK thrash bruisers Shrapnel, backed by doom/death heavy hitters The Crawling, epic metal storytellers Moon Reaper, and Staffordshire punk wrecking crew Head Dent.
Winter Gathering will once again feature the added touches that helped make last year stand out, including S’tanta’s Grotto, band signing sessions, giveaways, and the return of the event’s snow machine.
“Last year’s Winter Gathering was honestly such a blast — it reminded us exactly why Bloodstock began as an indoor event in the first place. The atmosphere was so intimate and felt just like those early days. We’ve got loads of fun things planned for 2026 and we’d love to see as many of you there as possible. It’s basically our Bloodstock Christmas party!”
Tickets for Bloodstock’s Winter Gathering are already on sale. For updates and full event details, fans should keep an eye on the official Winter Gathering website.
Gothenburg’s masterminds of melancholia, Evergrey, will offer up another outburst of beautiful darkness and turn their inner fire into something unstoppable: their intense fifteenth album, Architects Of A New Weave, will be released on June 5, 2026 via Napalm Records, just days before the band takes the stage as special guest to the undisputed kings of heavy metal, Iron Maiden, for two shows on their Run For Your Lives World Tour.
This is the wake-up call you didn’t know you needed: a plunge into thinning air, burning worlds, and lingering guilt—only to break free with fierce momentum. The album refuses to wallow. It ascends—fast, heavy, and cinematic. But it refuses to hide in the dark. It rises: quick, fierce, and utterly transformative.
Frontman Tom S. Englund shared how difficult it was to narrow down the album’s standout tracks, which, for the band, is a good sign: “We’ve literally never had this much trouble picking singles. And honestly? That’s the best problem we could possibly have. Every song on this record is fighting to be the one you hear first — because we poured everything into making an album we’re flat-out obsessed with. Like always, there are no fillers, no compromises, just twelve tracks we’re stupidly proud of and will be for the rest of our lives. Pre-order the album now and join the weave!”
Fans can expect a mix of massive hooks and crushing weight across tracks like “The World Is On Fire”, “Leaving The Emptiness”, “Heaven”, and “The Prophecy”, along with the title anthem “Architects Of The New Weave”.
The album leans into huge choruses and sharp-edged riffs, with Englund delivering vocals packed with honesty and bite. There’s also a major moment in the second half of the record, when Gothenburg icon Mikael Stanne of Dark Tranquillity, The Halo Effect, Grand Cadaver, and Cemetery Skyline joins Englund on vocals for “A Burning Flame”, bringing two scene veterans together in one track.
Architects Of A New Weave was produced by Tom S. Englund and Vikram Shankar, with mixing handled by Adam “Nolly” Getgood, a name well known for delivering modern heaviness with clarity.
Along with standard formats, the release includes a bonus album packed with extra material. That includes bonus tracks “Heights” and “One Heart”, plus an album mix of the previously released single “Oxygen!” (2025).
Listeners will also find a demo version of “Longing”, instrumental versions of “Leaving The Emptiness”, and a live take on “Falling From The Sun”, a standout track from the previous album, Theories Of Emptiness (2024).
The bonus content even continues the thread from “Ominous”, originally featured on A Heartless Portrait (The Orphean Testament) (2022), giving longtime fans more connective tissue across the band’s recent era.
Finnish metal force Lost Society give fans another powerful taste of their upcoming album Hell Is A State Of Mind, set for release on March 6th via Nuclear Blast Records, with the brand-new single “Is This What You Wanted”.
An emotional and thrilling anthem, the track opens with a grand, cinematic intro driven by strings and acoustic guitars before exploding into a storm of raw, screamed-out emotion. Vocalist SamyElbanna delivers a visceral performance that cuts deep under the skin, capturing both vulnerability and rage in equal measure. Accompanied by an intense music video, “Is This What You Wanted” visually underlines the song’s anthemic core and emotional weight, further setting the tone for what promises to be Lost Society’s most compelling release to date.
Frontman Samy Elbanna comments on the song: “This song comes from the feeling when you’ve worked tirelessly for years on your dream to come true and come to life, and you have these sudden realizations of how many important moments you’ve missed and how big the sacrifices have been that you’ve made along the way. A truly bittersweet feeling, because in the end of the day – they’ve been necessary to ensure your focus on your dreams. Nonetheless, it hurts. This comes from the heart and we hope it speaks to you and makes you remember that your loved ones would always have hoped for you to go after your dreams.”
You can now pre-order the album Hell Is A State Of Mindhere. The album comes in following formats:
CD jewel case with 12-page booklet
1 LP sleeve transparent red
1 LP sleeve transparent blue with red splatter
Kicking off in March 2026, right after the album release, Lost Society embark on a European tour, hitting cities throughout the UK, Germany, Netherlands, Switzerland and Scandinavia. Fans can expect a high-voltage set packed with fan favourites, ferocious riffs, and the band’s unmistakable adrenaline-charged energy. Supporting the run is the Finnish alternative metal outfit Awake Again.
