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FOR IMMEDIATE RELEASE
CHEMICAL BURN UNLEASH NEW VIDEO “THE FURY” OUT NOW VIA MEGASONIC RECORDS
California groove metal powerhouse CHEMICAL BURN have officially unleashed their brand new video “The Fury,” out now via MegaSonic Records.
The track serves as the title cut from the band’s upcoming album The Fury, set for release May 22, 2026, and delivers a crushing display of groove-driven heaviness, explosive aggression, and raw emotional intensity.
Fueled by thunderous riffs, punishing rhythms, and a vocal performance that pushes beyond pure rage into melodic chaos, “The Fury” showcases a band reborn through adversity and sharpened by experience. After years of lineup changes, setbacks, and rebuilding, Chemical Burn return tighter, heavier, and more focused than ever.
Frontman Mike Garnica describes the material as some of the most intense and personal work the band has ever created, channeling years of struggle and resilience into a relentless sonic assault.
The video captures the same energy that has made Chemical Burn a force in the underground metal scene for over two decades. Rooted in the groove and grit of classic heavy hitters while embracing a modern production edge, the band continues to evolve without losing the raw power fans expect.
Produced alongside acclaimed producer Juan Urteaga at Trident Studios, “The Fury” hits with a massive sound that balances precision and chaos in equal measure.
FFO: Pantera, Machine Head, Testament
Watch / Stream:
https://chemicalburn.hearnow.com/
Album Title: The Fury
Single / Video: “The Fury”
Album Release Date: May 22, 2026
Label: MegaSonic Records
Produced by: Chemical Burn and Juan Urteaga
Recorded, Mixed, Mastered at: Trident Studios
Chemical Burn are not slowing down. They are kicking the door wide open.



 Connect: 
https://linktr.ee/chemicalburnofficial
Contact: chemicalburninfo@yahoo.com

Speaking your mind may not always change the outcome, but remaining silent guarantees that it never will. That conviction drives FLOTSAM AND JETSAM’s new single, “The Edge of Nowhere,” the final advance track from the band’s upcoming album, Rats in the Temple. Opening with suspenseful, Eastern-tinged scales, the song holds its attack in reserve before […]

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Following their recent album announcement and the first track “Raivotarjonta,” Finnish industrial metal operatives Turmion Kätilöt are now back with the second taste. The “Lunastakaa” single can be streamed together with an official music video, which was directed, shot and edited by Toni Hiltunen.
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The young Brooklyn-based songwriter and multi-instrumentalist Kali Priya Flanagan used to make music under the name KALI, and he’s he’s a member of the emo band Holidays In United States and also makes his own stuff as Superfan. We already posted the early Superfan singles “Apeiron (Fantasy Football)” and “Picture Of Return.” Yesterday, Superfan announced plans to release his debut album My Piledriver Heart this fall.

The post Superfan Announces Debut Album <em>My Piledriver Heart</em>: Hear “In The Gold Room” appeared first on Stereogum.

There is no committee behind Abysm. Every riff, rhythm and vocal command comes from Bruno Schmidt, the musician at the heart of Brazilian one-man brutal death metal project DIVULSOR. Independently released on July 24, 2026, the debut full-length compresses eight tracks into just over 22 minutes. That compact running time leaves no room for decoration: […]

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Kamelot has released the last single ahead of its new album Dark Asylum, due out August 28 via Napalm Records. “Sanctuary” rides a wave of driving riffs and orchestral swells, with Kamelot frontman Tommy Karevik trading verses with Visions Of Atlantis vocalist Clémentine Delauney and Decessus frontwoman and current Miss World Chile Ignacia Fernández, stacking three distinct voices into one soaring performance. It’s a big, theatrical closer that finds the band planting its flag before launching into a victory lap.

Dark Asylum unfolds in a Neo Victorian-tinged setting, pulling listeners inside RavenHill Asylum — a onetime cathedral repurposed into a place where science, faith and madness collide uneasily.

Kamelot guitarist and founding member Thomas Youngblood broke down the song’s meaning: “‘Sanctuary’ represents the moment when the darkness of RavenHill is finally left behind. The song is about hope, freedom and finding your way back to yourself after everything you’ve endured.

“The video takes the story beyond the walls of RavenHill and gives us a glimpse of life after the escape, a new beginning, but one still shaped by the memories and scars of the past.

“With Tommy, Clémentine and Ignacia bringing three distinct voices to the song, it gives ‘Sanctuary’ an emotional depth that perfectly reflects the journey from darkness into light.”

The album is landing across a sprawling range of formats — standard gold, solid silver and classic black vinyl, plus certified white-label, white splatter and blood-filled variants that each come packaged with a 24-page booklet. Multiple CD digipak configurations are also planned, including a two-disc edition with an instrumental version of the album, alongside cassette and digital releases.

Dark Asylum pushes Kamelot further into cinematic, atmospheric territory while holding onto the hooks the band built its reputation on. The record is populated by a cast of guest voices familiar to fans of the genre: Avantasia mastermind Tobias Sammet, Eluveitie‘s Lea-Sophie Fischer, Delauney, Fernández, Rannveig Sif Sigurðardóttir, Sólveig Sara Leupold and Billy King. Across the record, identity fractures and reality bends as its central figure descends into psychological darkness on a path that ultimately bends toward transformation, and maybe sanctuary. Between the sweep of “Ashen World,” the introspection of “Sanctuary” and the layered mystery of “Ivy, My Dear,” Dark Asylum plays out as a full concept piece, stitching orchestral scale, haunting melody and theatrical storytelling into a single arc.

Youngblood elaborated on the concept: “‘Dark Asylum’ follows a soul trapped inside a world of masks, fractured memories, and psychological torment, wandering the endless halls of RavenHill in search of truth, identity, and redemption. What begins as a descent into darkness gradually transforms into a journey of awakening, where beneath the fear, illusion, and chaos lies the possibility of healing, hope, and ultimately a path out of the shadows into Sanctuary. The album explores the duality between despair and salvation, blurring the lines between reality and madness through theatrical storytelling, haunting atmospheres, and deeply emotional themes.”

Karevik added his own take: “‘Dark Asylum’ invites listeners into the hidden chambers of the human mind. A journey where every door reveals a different story, yet all remain deeply connected. At its core, the album explores the duality of human nature: the constant tension between fear and hope, chaos and stillness, destruction and healing. ‘Dark Asylum’ reflects the struggle to remain sane within a cold and barren world, while ultimately discovering that salvation is not something found externally, but something that already exists within us all. Through self-exploration, awareness, and inner peace, healing becomes possible. This concept opened the door to a more cinematic and haunting sonic landscape, allowing us to experiment with darker, more eerie musical themes.”

Longtime Kamelot producer Sascha Paeth returned to helm the record, with Jacob Hansen handling mixing and mastering.

Karevik closed with a note on the album’s visual identity: “The imagery was intentionally painted with delicate strokes, capturing the fine line between beauty and disorder, and the way chaos and tranquility coexist within the same space. The result is an immersive experience that feels both unsettling and deeply human. A descent into darkness that ultimately searches for light.”

Formed in Florida in the early 1990s, Kamelot grew into one of the defining names in symphonic and progressive power metal through albums like The Fourth Legacy, Karma, Epica, The Black Halo, Ghost Opera, Silverthorn and The Awakening. Over three-plus decades, the band has built a global following on conceptual storytelling, orchestral arrangements and ambitious live shows.

The post KAMELOT Unleashes Final “Dark Asylum” Single “Sanctuary” Featuring Three-Way Vocal Showdown appeared first on Sonic Perspectives.

Where in the world do I even begin when talking about someone like Steve Cropper, his travels, accomplishments, and musical history? I am certain that there is enough information out there about him to fill up a thick book. He was an accomplished musician, songwriter, producer, and engineer. When our music world lost him on December 3, 2025, he was still involved in doing what he loved, which was creating great music.

He and a special group of fellow musicians were wrapping up the finishing touches on what would be his last project, Watching The Tide. Cropper was actually hospitalized when bandmate, songwriter, and producer Jon Tiven delivered a copy for him to listen to. Tiven said that Cropper phoned him on the night before he passed, telling him how much he loved the recording and how it was the best record he’d ever made. That is an immense statement for someone like Steve Cropper to make.

Let me take you on a brief, condensed journey. Steve Cropper, known as “Colonel” or just “Cropper” to friends, was born in Dora, Missouri, and moved to Memphis at age nine. He received his first guitar at age fourteen. While in Memphis, he was exposed to lots of Black gospel music that was impactful to his playing style. Some of his early guitar-playing influences came from Chuck Berry, Chet Atkins, Lowman Pauling, and Jimmy Reed.

He was an early member of the Royal Spades, which later became The Mar-Keys, who began playing on recording sessions. Cropper later became a founding member of Stax Records’ house band, Booker T. & the M.G.’s. His early contributions to major hit recordings as a songwriter or co-songwriter included “Sittin’ on the Dock of the Bay,” “Green Onions,” “In the Midnight Hour,” “Knock on Wood,” and many, many others.

Cropper was also a member of the Blues Brothers Band. He worked with so many major artists that it would be nearly impossible to name them all. He was nominated for seven Grammy Awards and won twice. Rolling Stone ranked him thirty-sixth on its list of the 100 greatest guitarists. He was voted into the Songwriters Hall of Fame in 2005, and in 2010, he was voted into the Nashville Songwriters Hall of Fame. I can best sum up Steve Cropper’s music history and accomplishments by saying, “He’s legit.” Keith Richards of the Rolling Stones said this about him: “Perfect, man.”

Watching The Tide will be the last recording released by Steve Cropper and the Midnight Hour, unless there are songs secured away that were recorded but never released. Considering Cropper’s vast productivity, it would not surprise me to see that very thing happen. The album title is from lyrics of one of his most popular co-written songs, “Sittin’ on the Dock of the Bay,” and the band’s name, Steve Cropper and the Midnight Hour, is taken from another of Cropper’s co-written songs, “In the Midnight Hour.”

Allow me to plug the band before we talk about the music. The band consists of Steve Cropper (guitar), Jon Tiven (keyboards, bass, vocals), Roger C. Reale (lead vocals), Ana Grosh (vocals), Nioshi Jackson (drums/percussion), and Eddie Gore (keyboards, percussion). This group really does an outstanding job on this album. Also making guest appearances are Eric Clapton, Brian May, Billy Gibbons, and Ronnie Wood.

Watching The Tide is a collection of twelve tracks of masterfully performed and recorded music that serve as a proper send-off for this member of musical majesty.

“Ticket First” is a cut that features more guitar royalty, with Eric Clapton helping out. It’s a bluesy number with some serious guitar playing going on. Roger C. Reale and Ana Grosh provide outstanding vocal performances on this one, too. Reale sings, “If you want to win the prize, you got to get a ticket first.” It’s reported that this song came from a joke Cropper had about a woman who rubs a magic lamp and the genie gives her one wish. Her wish is that she wants to win the lottery. The genie tells her that she has to have a ticket first. I’m thinking maybe she should have just asked for the cash. This one will be one of those tunes that you feel like you should be up and dancing to.

The third song is “My Angels Are Calling,” and Brian May wrote the lyrics for this one from Steve Cropper’s perspective. He also provides the lead vocal and does a super job at it. Billy Gibbons provides some righteous guitar work on this piece, and the result is a jewel being added to Watching The Tide.

The ocean sounds usher in May as he sings, “I’m here to thank you Lord for taking me on board; I been a lucky man.” He continues later with, “but now my angels are calling, my angels are calling me home. My angels are calling to bring me back where I belong.” This song also gets a guest appearance by Billy Gibbons.

I’m just going to speak as plainly as I can. This is a beautiful piece, especially considering the circumstances. It deserves a wide listening audience from those who were Steve Cropper fans and those who knew him personally, as well as new listeners.

“Until Now” features Ronnie Wood providing some killer slide guitar work. It’s a blues rocker for sure, and Roger C. Reale does another great job with the lead vocal here. He sings, “Until now it was hard to get me down. The wind at my back, I was right on time; until now.” He continues by asking, “Who’s gonna come and chase these blues away?” If these are the kind of blues that need chasing away, I hope nobody comes to chase them away.

Track seven on this release is “It’s Gonna Get Worse,” and it’s a funky number that opens with the lyrics, “It’s gonna get worse, before it gets better.” This one has some great groove going on in it. I believe that this song is saying what a lot of us are thinking. I’m hoping and praying that things don’t get worse, but none of us know about tomorrow. “We got to ride out, some stormy weather,” Reale sings, and that may be some great advice.

Watching The Tide is a fitting farewell to Steve Cropper and the Midnight Hour as we know them. I’m sure we’ll still be able to enjoy the future efforts of the other musicians featured on this recording, but we’ll only be able to visit the past concerning Cropper.

It is usually here that I recommend going out and catching an artist live. I also usually list concert dates or direct readers to the artist’s social media pages for upcoming concerts. I can’t do that here. However, Steve Cropper has left a treasure trove of past recordings in addition to this one. Allow this album to motivate you to go back and revisit his earlier work. I’m surely going to take my own advice on that.

Until then, I will conclude with lyrics that I intentionally didn’t mention earlier from the track “My Angels Are Calling”: “My angels are calling, they’re calling to take me away. They’re taking me back to my sea on the dock of the bay.”

Rest in peace, Steve Cropper, and thanks for the great music.

The Review: 9.5/10

Can’t Miss Tracks

– Ticket First
– My Angels Are Calling
– Until Now
– It’s Gonna Get Worse

The Big Hit

– My Angels Are Calling

The post Steve Cropper and the Midnight Hour: Watching The Tide Review appeared first on Blues Rock Review.

In February 2027, the Swedish ensemble Thrown will embark on a headlining tour over Australia. Support acts on this trek will be Boundaries, 156/Silence and Volatile Ways
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Amon Amarth have premiered a music video for their new single “Eight Legs Of Thunder”. The track will appear on The Allfather Awakens, the band’s upcoming new album due for release on October 2nd 2026 via Metal Blade Records. Watch the video below.
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Hatebreed are unveiling a visualizer for “Fatal Paradox”, the second advance single and title-track off their forthcoming studio album.
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