Category: news
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“Substitute any Vietnam reference with any current war and the lyrics still stand up. I think the lyrics on Paranoid are timeless.” How themes of war, madness and nuclear holocaust shaped Black Sabbath’s second album
Black Sabbath ditched the hippy dream and faced brutal reality on Paranoid -
“This is proof positive they’re ready to take on bigger stages and events.” They’re already one of extreme metal’s biggest bands – and with their ferocious Sonic Temple show, Lorna Shore have shown they’re not gonna stop there
Deathcore’s biggest band scale new heights at Sonic Temple -
BLUE MEDUSA returns with highly anticipated new single “Flying Monkey”
After the breakout success of “Checkmate,” a single that rapidly established itself as one of the most enthusiastically embraced metal releases of the year, internationally acclaimed metal icon ALISSA WHITE-GLUZ returns this Friday with “Flying Monkey,” the highly anticipated second single from BLUE MEDUSA. “Flying Monkey” is an explosive, dark, layered, and emotionally charged release that further establishes BLUE […] -
International power metal band ASTERISE released a new single ‘Rapid Fire’ featuring Herbie Langhans (Avantasia) on vocals and Ronny Milianowicz (Shadowquest) on drums
The man behind Asterise Bartlomiej Mezynski International power metal band Asterise released a new single ‘Rapid Fire’ on May 15th 2026. The track is pretty short, simple and full of energy – around 3 minutes of guitar riffing, powerful vocals, and an overall fast, energetic vibe. This is the second collaboration with Herbie Langhans (Avantasia) on vocals and Ronny Milianowicz (Shadowquest) on drums. LISTEN to […] -
JARED JAMES NICHOLS Talks His New Album “Louder Than Fate”: “I Feel Like I’m Really Saying Something Here With My Guitar”
Hard-rocking guitarist and vocalist Jared James Nichols is back with Louder Than Fate, out June 5 via Frontiers Music Srl. The 10-track collection is his most fully realized statement yet, balancing his signature crunchy guitar tones with a stronger focus on vocal melody and songcraft. Whether he’s delivering a fluid solo on “Running Hot,” burning through the lead track “Let’s Go,” or laying bare something more vulnerable on “Killing Time,” Louder Than Fate is a record that earns the weight it carries.
Two years is a long time to carry songs in your head, and Nichols sounds like a man who can finally breathe. “These songs have been floating around in my head in rehearsal spaces and sound checks for the last almost like two years,” he told Robert Cavuoto of Sonic Perspectives. “Finally, to put this together and not only compile these songs but also to get this record out, it feels like I’m finally just like getting a weight off my shoulders.”
That relief is audible in the record itself. Louder Than Fate moves between hard rock muscle and something more emotionally exposed, a range Nichols says came from a deliberate effort to let the songs go where they wanted rather than forcing them into a predetermined mold. Tracks like “Dustin Bones” and “Let’s Go” operate in full-throttle mode, while “Killing Time” and “Show Me” pull back into something closer to ache.
“One of the big things I’ve always had just because of the way I play guitar is it’s always been really, really guitar focused,” he said. “With this record, I feel like I was able to bridge that gap where there is that natural kind of rawness when you hear songs like ‘Dustin Bones’ and ‘Let’s Go.’ As a vocalist, I get my best vocal takes when I’m holding or playing my guitar. It’s like my blanket. But with songs like ‘Killing Time’ and ‘Show Me,’ it’s almost as if I was able to have the guitar play rhythm to a vocal and to a melody, which is something that I’ve been really, really focused on. This record, we finally captured that.”
The writing process was looser than anything Nichols had attempted before, leaning on co-writers based in Nashville and letting the material find its own footing. “Way Back” is a prime example, built around a chorus riff that simply fell into place once the right people were in the room. “The more it feels natural and the more it feels easy, the more it comes across as honest in me,” he said. “That thing basically wrote itself.”
That track also reflects the eclectic musical diet Nichols grew up on. Raised on a rotation of Steppenwolf, Mountain, Cream, and Led Zeppelin courtesy of his Vietnam vet father, AM radio softness from his mother, and Alice in Chains and Stone Temple Pilots from his brother, he never really belonged to a single genre and stopped pretending otherwise around two years ago. “I said, let’s just write songs. Let’s just let it go where it’s going to go,” he said. “I have this weird kind of misfit of all this blues, rock, country, heavy stuff, and I just try and cram it all in there to try and sound like me.”
Lyrically, Nichols admits that while not every song is strictly autobiographical, each one carries personal elements that reflect his own experiences. “Killing Time” is where the personal and the universal collide most directly. The song started from a fractured family relationship rather than a romantic split, but the two threads ended up pointing in the same emotional direction. “Sometimes you have to let songs go where they want to go,” he said. He played it for Lzzy Hale of Hailstorm while it was still taking shape. “By the time we got through the chorus, she goes, ‘Oh, this is a good song.’ And I was like, got it. We’re doing that.”
The guitar work on that track also marks a personal milestone. Inspired by David Gilmour‘s melodic approach, Nichols went home the night before recording the solo, didn’t touch his guitar, and just listened back to the rough track on his phone, humming melodies rather than rehearsing licks. “I walked into the studio the next morning, fired up my amps, went through like three passes, kind of figured out where I wanted to go, and then we did it,” he said. “After we were done, the engineer looked back at me and went, ‘What do you think?’ And I said, ‘I think we got it.’ That one was really special because I felt like I was really saying something with my guitar.”
That commitment to feeling over perfection runs through the whole record. Nichols and his team made a deliberate call to leave the imperfections in, no auto-tune, no going back to fix the rough edges. “If you hear the guitar and it goes or it scratches up, that’s me. That’s my mistake. And we left it because there’s an honesty there,” he said. “With ‘Killing Time,’ there are parts where I can hear a string kind of buzzing underneath it. But it was like it’s part of the energy. It’s the way it was captured.”
Louder Than Fate also carries a bonus track that most Western listeners won’t find on the standard release: an acoustic version of “Killing Time” recorded on guitars dating back to the late 1800s. “When you hear it, right when it kicks off, you go, ‘That sounds different. That sounds old,’” Nichols said. “It’s not like it was made to sound old. It’s a microphone on a real old guitar.” It also marks the first time he’s attempted true acoustic soloing on record.
Nichols is taking the album on the road immediately after release, with shows lined up in New Jersey, Los Angeles, Nashville, London, and Berlin, playing the record front to back, in sequence, with the same band that recorded it. “When you listen to the record, and then you come to the record release show, it’s the same guys playing the songs,” he said. “To me, that means something.”
The post JARED JAMES NICHOLS Talks His New Album “Louder Than Fate”: “I Feel Like I’m Really Saying Something Here With My Guitar” appeared first on Sonic Perspectives.
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CYANIDE Releases New Single “Get Up and Dance” and Official Music Video Out Now – @thebeast
FOR IMMEDIATE RELEASE
CYANIDE Releases New Single “Get Up and Dance” and Official Music Video Out Now
Las Vegas, NV – Las Vegas hard rock band Cyanide has officially released their new single “Get Up and Dance,” now available on all major streaming platforms including Spotify. The track is also available on CD through Kivel Records alongside the newly released official music video, out now.
Built on a foundation of classic hard rock energy with a modern punch, “Get Up and Dance” captures Cyanide at full throttle. Driving rhythms, bold vocals, and a straight-ahead rock attitude define the track, delivering a sound made for loud speakers and bigger crowds.
At the center of the single is a lyric that sums up the band’s connection with their fans:
“The power we get from you, it’s electric, you know it’s true.”
That line reflects the push-and-pull energy Cyanide thrives on, where the audience is just as much a part of the sound as the band on stage.
Recorded with the intent to bring a live-wire feel into the studio, “Get Up and Dance” leans into raw performance energy rather than overproduction. It is built to move bodies, shake rooms, and remind listeners what real hard rock is supposed to feel like.
With the single and official music video now unleashed, Cyanide continues to carve their path in the modern rock world by keeping things simple, loud, and honest.
Stream “Get Up and Dance” here:
https://distrokid.com/hyperfollow/cyanide9/get-up-and-dance-feat-keith-robert/
Watch the official music video here:
Connect:
https://linktr.ee/Cyanide.21Gun
Contact: cyanidelv2003@gmail.com -
Anvil – Confirm Massive European Tour
Canadian heavy metal veterans Anvil have announced an extensive touring run across Europe. Scheduled for autumn, ‘Pounding The Past’ tour encompasses 48 shows in total. On this occasion, the band will perform songs from their first 3 albums: Hard ‘N’ Heavy (1981), Metal On Metal (1982), and Forged In Fire (1983).
Read more… -
Citizen Smith Somewhere between leaving Review
Citizen Smith Somewhere between leaving Review
The album opens with “Memories,” establishing a somewhat ethereal and ethnic atmosphere. The music evokes images of yellowed Polaroids tucked away in a drawer, sparking a journey into the past. “Memories” anticipates the reflective nature of the album, creating an immediate emotional connection.
Following this is “Superman,” a track that embodies classic rock rhythms reminiscent of the 1970s. The energy and spirit of the song are palpable, drawing from influences of bands like R.E.M. and Dire Straits. Its genuine and intense sound offers a refreshing response to contemporary music, making it a standout piece.
Next, “Stepping Stone” unfolds with a beautiful guitar riff that carries a hint of mystery. The opening notes invoke a mirage-like feeling, transporting listeners into a soundscape alive with intrigue. The subtle Arabic vibes enrich this track, adding layers of fascination to the musical experience.
Somewhere between leaving – Sound and Atmosphere
The album takes a more minimalist turn with “Afterglow.” This introspective piece features a slightly crunchy and wavering guitar that captures fragility. It reminded me of a candle flickering in the wind, representing vulnerability and transience. Listeners are drawn into its delicate embrace, leaving them spellbound.
“Considered” follows with its gentle arpeggio and sweet composition. The arrangement draws attention to the supportive background vocals that enhance the main melody. This rich texture results in a captivating auditory experience, allowing a moment of pause and appreciation for the craftsmanship behind the music.
“Wine Bottles” presents an evocative acoustic introduction that sets a desolate and deserted ambiance. This minimalist track possesses a compelling melody that engages listeners. Its somberness contrasts with the brighter moments found elsewhere in the album, offering a glimpse into the complexities of life’s emotions.
The album concludes with “Gravity 26,” a track that shifts the energy to something more uplifting. Its engaging rhythm wraps around the listener, inducing a sense of dreaming and hope. The transition from the introspective nature of earlier songs to this vibrant finale illustrates the emotional and musical growth present throughout the album.
Somewhere between leaving – Performance and Production
This alternative rock folk album highlights the exceptional songwriting abilities of Citizen Smith. Each track serves not only as a song but also as a piece of a larger journey. The album intricately describes life’s various moments, compelling listeners to reflect on their own experiences.
The narrative crafted within the music allows listeners to connect deeply with its themes, making it an auditory and emotional exploration. This remarkable album is a hidden gem that deserves attention from a wide audience. The range of influences, from retro rock to minimalist introspection, makes it a rewarding experience.
Citizen Smith has successfully created music that resonates on multiple levels. The interplay of various styles and emotions transports the listener through a spectrum of unforgettable feelings. Highly recommended!
Ethereal
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If you love this music: Discover More
For fans of:
R.E.M. • Dire Straits
The post Citizen Smith Somewhere between leaving Review appeared first on Edgar Allan Poets – Noir Rock Band.
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Sig And The Fire Pilots LITTLE BLACK DRESS Review
Sig And The Fire Pilots LITTLE BLACK DRESS Review
A striking riff opens the song, direct and assertive, yet infused with a touch of psychedelia that quickly engages the listener. Following this energetic introduction, the song transitions into a surreal verse that is unmistakably influenced by psychedelic sounds. This shift demonstrates how the band possesses a genuinely unique vision, creating rock music that is playful and cheeky, invigorated by infectious energy.
Throughout “Little Black Dress,” the band’s ability to evoke emotions is noteworthy. Their style resembles a blend of influences, notably reflective of Talking Heads, The Rolling Stones, and Queens of the Stone Age. This sound embodies the very essence of rock music. Each dynamic element of the song unfolds intricately, creating moments that ebb and flow brilliantly.
There is a theatrical quality interspersed with a carefree attitude. The rhythm changes keep the listener engaged, making them curious about where the journey will lead next. The lyrics celebrate an iconic fashion moment—the invention of the Little Black Dress by Coco Chanel in 1926. This song commemorates the centennial of this iconic garment that has allowed us to appreciate the elegance and impact of women in fashion.
LITTLE BLACK DRESS – Sound and Atmosphere
The instrumentation plays a substantial role in crafting the song’s atmosphere. The opening riff serves as a foundation, setting a dynamic tone that fluctuates between moments of intensity and serene calm. The band shifts from sections that feel jubilant to those that carry a heavier weight. This duality creates a listening experience that is anything but predictable.
The production is another highlight of the track. It captures the retro essence of the instruments while blending contemporary techniques. The result is a polished yet authentic sound that pays homage to its predecessors while forging its path. This balance illustrates the band’s skill in merging traditional rock elements with modern sensibilities.
LITTLE BLACK DRESS – Performance and Production
The intensity fluctuates, ensuring listeners remain invested. The climactic moments feel triumphant, celebrating not just the dress but the spirit of the women who wear it.
“Little Black Dress” stands as a symbol of creative expression. The band showcases an exciting blend of eras and styles, resulting in a fresh perspective within the rock genre. Their ability to communicate powerful themes through energetic music reflects their maturity as a band.
“Little Black Dress” is a remarkable journey through sound and emotion. The band successfully marries playful energy with thoughtful lyrics, honoring an iconic piece of fashion history. As they celebrate Coco Chanel’s influence.
Vibrant
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If you love this music: Discover More
For fans of:
Talking Heads • The Rolling Stones • Queens of the Stone Age
The post Sig And The Fire Pilots LITTLE BLACK DRESS Review appeared first on Edgar Allan Poets – Noir Rock Band.
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Opera IX – Share New Track
“Defixiones”, the newest single from Opera IX‘s soon-to-be-released long player Veneficium, has premiered online in the form of an official music video.
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