Australian prog virtuoso Plini will release his third studio album, An Unnameable Desire, on April 24. You can watch a music video of the title track “An Unnameable Desire” below.
Read moreā¦
Category: news
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Sevendust announce first UK headline tour in eight years
Grammy-nominated metal veterans Sevendust have announced their first UK headline tour in eight years. Fresh off an arena support slot with Alter Bridge in March, the Atlanta quintet will return this winter for an extensive 16-date run across Europe, the UK, and Ireland. The tour comes in support of the band’s milestone 15th studio album, … Continue reading Sevendust announce first UK headline tour in eight years -
Foo Fighters Unveil Thrashing New Track āOf All Peopleā
Foo Fighters’ new album ‘Your Favorite Toy’ is getting closer and closer, and the band have shared another piece of it to tide you over.
The name is ‘Of All People’, and it is a track spiked with plenty of spite and malice between its caustic riffs. Delivered with a sneer and a shake, Dave Grohl deals out the sort of performance that you wouldn’t want to be on the other end of, whilst the band produce a litter of slick riffs and infectious melodies. It’s a song that, on the surface, is a dancefloor-filler, but dig a little deeper, and it finds the band at their most cutting and crushing.
Nothing else to do but get stuck in good and proper.
‘Your Favorite Toy’ will be released on April 24 via Roswell Records/Columbia Records. It will also feature ‘Caught In The Echo’, which sounds a lot like this:
You’re going to be able to catch the band dealing out all these new bangers, as well as the classics, as they make their way around Europe this Summer.
Here are the dates:
JUNE10 ā OSLO Unity Arena
12 ā STOCKHOLM Strawberry Arena
15 ā WARSAW PGE Narodowy
17 ā MUNICH Allianz Arena
19 ā PARIS Paris La DĆ©fense Arena
25 ā LIVERPOOL Anfield Stadium
27 ā LIVERPOOL Anfield Stadium
JULY1 ā BERLIN Olympiastadion
3 ā VIENNA Ernst-Happel-Stadion
5 ā MILAN Ippodromo Snai La Maura (I-Days Milano)
8 ā MADRID Mad Cool Festival
10 ā LISBON NOS Alive Festival
The post Foo Fighters Unveil Thrashing New Track ‘Of All People’ appeared first on Rock Sound.
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Reviews: Magenta, Sugar Horse, Dimwind, Nick Oliveri (Matt Bladen, Cherie Curtis, Mark Young & Joe Guatieri)
Magenta – Tarot (Tigermoth Records) [Matt Bladen]Welsh prog unit Magenta are about to get medieval on your ass! In quite a literal sense as their new album, their tenth(?), studio recording Tarot is inspired by the the band Renaissance, who have always been a huge influence to main writer Rob Reed. So with this being their 25th Anniversary as a band they do a bit of retrospection to their debut album Revolutions where the inspiration of Renaissance, Yes and the UK Neo-Prog acts like Marillion and Pendragon impacted the style of the band on that debut record.
Since that debut they have added all sorts of elements to the band from alternative rock, symphonic cinematics, massive conceptual pieces, heavy rock and more, but it seems that with this milestone in their history coming up, the idea of this record was to bring it all back to where they began, one distinct style based around the Neo-Prog journeying of Renaissance, et al.
Basing the songs on the characters that appear on Tarot cards, with four folksy Ćtudes splitting their labyrinthine cuts, featuring flute from Katie Axelsen and oboe from Sam Baxter, some harpsichords and a lot of Nylon string guitar fit for Henry VIII’s court. Those nylon strings and soaring, expressive lead guitar moments are still the reserve of Chris Fry, who plays with feeling, emotion and virtuoso skill, throwing in Gilmourisms, Hackett classicism and even a bit of jazz on The Empress.
The rest of the instrumentation meanwhile come from Rob Reed who plays the keys, organs, synths, piano, rhythm guitar, the ever present guitar which is high up in the mix like it should be and even some recorder for more folking. Though he doesn’t provide the drums, so it’s a good job they have all round tub thumper extraordinaire Nick DāVirgilio to do that in between his stints with Big Big Train and Steve Hackett.
Reed has also said that this is the first album he’s written explicitly for singer Christina Booths voice, and she gives a brilliantly emotive performance, perfectly pitched for the romantic notions of the past and fate explored on this album, joined on the gospel tinged title track by Peter Jones and Steve Balsamo. Tarot plays the cards out in the open, with a record of brilliantly delivered prog rock that sees Magenta in nostalgic and celebratory mood after a quarter of a century. 9/10
Sugar Horse – Not A Sound In Heaven (Fat Dracula Records) [Cherie Curtis]
Sugar Horse offers a fresh new perspective on modern metal. Its cinematic, loud and chaotic with the grandeur of a perfect storm.Not A Sound In Heaven brings thunderous instrumentals and heavy breakdowns with their own spin by carefully sprinkling in some euphoric harmonised choruses and highly technical beats. Sugar Horseās title track, Not A Sound In Heaven, is a light and airy with glorious technical symphonies without the harsh metal vocals of the rest of the album that’s more to serve the concept while capturing the atmosphere.All throughout you’re being pushed pillar to post by the vocal range between soft and harsh with hardcore bone shaking metal vocal sustains complimented by hard-hitting drums giving the album a modern-day alt rock twist. Sugar Horse is an interesting fever dream and not at all what i expected, i found myself on the fence a couple of times before being drawn back in by complex dynamic builds of intensity that makes for a well-articulated piece.Overall, this one is strong and wondrous. It wonāt get you into a moshpit but I donāt think it’s supposed to as for me, itās an album to accompany you on a moody day and the vibe feels summery yet pessimistic, allowing you to fester in melancholy comfortably. 7/10
Dimwind – The Carrion Waltz (Self Release) [Mark Young]
Entering the arena with an album that moves with ease and grace between different musical approaches is Swedenās Dimwind. They are one of those bands where you can give them a tag, say āpost metalā or āprogressiveā or āsludgeā and it doesnāt really tell the full story of what they sound like or indeed what one can expect from them. They can be a lot of things to a lot of people; such is the spectrum they ride with The Carrion Waltz.
Again, like a lot of my reviews this represents my first time with them, and as I understand it sees them add a vocalist to the mix in order to expand further. What is apparent is that the music behind the vocal lines still has priority in terms of how it lands with you. If you imagine a Mastodon where the style moves from person to person, and as a result it is changing because of that, its exactly what you get here.The difference here is that Dimwind are writing with a vigour and energy that has been missing from Mastodon. That is a different conversation so getting back on track Iāll just point you in the direction of the melodic change in the main verse of opening track The Chime. Itās a little touch but something that in the whole scheme of the song makes a massive difference to me in how I respond to it. Itās a massive way to start things off, its one of those songs where they have a lot to say, and they give it the space to unfold. Its closing moments are triumphant, moving forward in a perceived wave of positive melodic lines.As strong as that opening statement is, there is no time for resting, with My Uninvited Host trampling all underfoot, mixing groove in with its crushing arrangement. It suddenly comes to a halt, reaching backwards to lighten the mood. You know its not staying there for long and it starts to punch forward in the most satisfying way. Lovers of the riff will be at home here because its filled to the brim with them. Again, check out the closing minute or so for a prime example of this.
They have a definite knack of being able to meld good riffs with abrasive vocals and still sound like a moment of beauty. The Antagonists Speech, circa 2minutes in or Counterglow, where they gently apply the brakes and just relax for a while during the mid-point. Iām not just saying that these are relative high points, just examples within each. They balance heavy and soft in a way that seems intuitive, at least to them.What this means as a listener is that we are spoiled from start to finish. I appreciate that is quite the statement, but from my perspective itās the truth. Iām not quite sold on the whole post-metal thing, I suppose its because Its not thrash metal, but Iām not going to sit and say that this is poor because itās not played at a 1000mph. Its an album that has moments of stark beauty to it.You only have to listen to it to understand that, even I can hear it. I mentioned that audio kinship with Mastodon, where they share that similar ability to turn on a sixpence within a song. Here, they do it two or more times, and they land it every time.The closer, Absorbing The Infinite Impermanence is magnificent in how it develops, building itself until it gets to the end. Looking at those pesky tags, yes, they are all of those things, I donāt think you or they could argue with that. But to pigeonhole them to those tags, well I think you would be missing the point. 8/10
Nick Oliveri – N.O Hits At All Vol 10 (Heavy Psych Sounds) [Joe Guatieri]
There is no other way to say it, Nick Oliveri is one of my favourite musicians of all time. The man has played a big part in so many bands that I love like Kyuss and Queens Of The Stone Age and has even more projects and collaborations that heās put his name to. With his own band Mondo Generator, they have hit a height of consistency in fantastic releases also.
Today weāll be diving into Nickās long running series of compilations, N.O. Hits At All, which covers songs that heās been a part of throughout his career. I have previously reviewed the last two releases, volumes 8 and 9 which I really enjoyed, how will it fare with volume 10?
The record opens with Luv Is Fiction, a track that sees Nick singing over a song which doesnāt know whether itās Hair Metal or Hardcore Punk. The song revolves around a riff that sounds like vanilla Rage Against The Machine, yeah itās bouncy but it doesnāt go anywhere and ends up being uninspired. The chorus has what sounds like back-up singers with headbands on all singing into the same microphone whilst Nick is up front. It doesnāt match his style whatsoever and has no bite to it.
Track two presents us with Up And Down Under which is a much more welcome addition here. The instruments swirl together like a tornado with punchy drums and a smooth bass. Its classic Stoner Rock stylings stand out from being derivative as there is a big emphasis on attack in the song and thanks to its use of dynamics, it feels like that itās forever moving forwards, capturing people in its groove.
This is where my frustrations with this album come to boiling point as with the next not two but six tracks, they have all been used as part of the N.O. Hits At All series before. This is beyond disappointment and utter laziness on Nick Oliveriās part. All he had to do was type in the songs already and seen that he had picked them before, even on the last fucking release with one of them! No wonder why they started sounding so familiar as I have heard them all before.
There is one more song on here which hasnāt been on a compilation and this is track nine with Bad Boy For Love. Itās a classic acoustic song in Nickās style, a weird psychedelic synth hums in the background as the guitar sends us off to space. Then all thatās good goes to shit again, as the next two songs have once again been used on previous compilations.
Three original songs to volume 10 is a joke, itās so much more than just an admin error, it lacks any sort of common sense and feels like a blatant lie. The song Lockdown is the most egregious, it was previously used on volume 1 and it makes me want to tear my hair out, HOW?!This is a plea to Nick Oliveri himself. You can still make wonderful music that I connect with but please stop with N.O. Hits At All before itās N.O Fans At All. This isnāt a celebration, itās starvation! 1/10 -
Reviews: Magenta, Sugar Horse, Dimwind, Nick Oliveri (Matt Bladen, Cherie Curtis, Mark Young & Joe Guatieri)
Magenta – Tarot (Tigermoth Records) [Matt Bladen]Welsh prog unit Magenta are about to get medieval on your ass! In quite a literal sense as their new album, their tenth(?), studio recording Tarot is inspired by the the band Renaissance, who have always been a huge influence to main writer Rob Reed. So with this being their 25th Anniversary as a band they do a bit of retrospection to their debut album Revolutions where the inspiration of Renaissance, Yes and the UK Neo-Prog acts like Marillion and Pendragon impacted the style of the band on that debut record.
Since that debut they have added all sorts of elements to the band from alternative rock, symphonic cinematics, massive conceptual pieces, heavy rock and more, but it seems that with this milestone in their history coming up, the idea of this record was to bring it all back to where they began, one distinct style based around the Neo-Prog journeying of Renaissance, et al.
Basing the songs on the characters that appear on Tarot cards, with four folksy Ćtudes splitting their labyrinthine cuts, featuring flute from Katie Axelsen and oboe from Sam Baxter, some harpsichords and a lot of Nylon string guitar fit for Henry VIII’s court. Those nylon strings and soaring, expressive lead guitar moments are still the reserve of Chris Fry, who plays with feeling, emotion and virtuoso skill, throwing in Gilmourisms, Hackett classicism and even a bit of jazz on The Empress.
The rest of the instrumentation meanwhile come from Rob Reed who plays the keys, organs, synths, piano, rhythm guitar, the ever present guitar which is high up in the mix like it should be and even some recorder for more folking. Though he doesn’t provide the drums, so it’s a good job they have all round tub thumper extraordinaire Nick DāVirgilio to do that in between his stints with Big Big Train and Steve Hackett.
Reed has also said that this is the first album he’s written explicitly for singer Christina Booths voice, and she gives a brilliantly emotive performance, perfectly pitched for the romantic notions of the past and fate explored on this album, joined on the gospel tinged title track by Peter Jones and Steve Balsamo. Tarot plays the cards out in the open, with a record of brilliantly delivered prog rock that sees Magenta in nostalgic and celebratory mood after a quarter of a century. 9/10
Sugar Horse – Not A Sound In Heaven (Fat Dracula Records) [Cherie Curtis]
Sugar Horse offers a fresh new perspective on modern metal. Its cinematic, loud and chaotic with the grandeur of a perfect storm.Not A Sound In Heaven brings thunderous instrumentals and heavy breakdowns with their own spin by carefully sprinkling in some euphoric harmonised choruses and highly technical beats. Sugar Horseās title track, Not A Sound In Heaven, is a light and airy with glorious technical symphonies without the harsh metal vocals of the rest of the album that’s more to serve the concept while capturing the atmosphere.All throughout you’re being pushed pillar to post by the vocal range between soft and harsh with hardcore bone shaking metal vocal sustains complimented by hard-hitting drums giving the album a modern-day alt rock twist. Sugar Horse is an interesting fever dream and not at all what i expected, i found myself on the fence a couple of times before being drawn back in by complex dynamic builds of intensity that makes for a well-articulated piece.Overall, this one is strong and wondrous. It wonāt get you into a moshpit but I donāt think it’s supposed to as for me, itās an album to accompany you on a moody day and the vibe feels summery yet pessimistic, allowing you to fester in melancholy comfortably. 7/10
Dimwind – The Carrion Waltz (Self Release) [Mark Young]
Entering the arena with an album that moves with ease and grace between different musical approaches is Swedenās Dimwind. They are one of those bands where you can give them a tag, say āpost metalā or āprogressiveā or āsludgeā and it doesnāt really tell the full story of what they sound like or indeed what one can expect from them. They can be a lot of things to a lot of people; such is the spectrum they ride with The Carrion Waltz.
Again, like a lot of my reviews this represents my first time with them, and as I understand it sees them add a vocalist to the mix in order to expand further. What is apparent is that the music behind the vocal lines still has priority in terms of how it lands with you. If you imagine a Mastodon where the style moves from person to person, and as a result it is changing because of that, its exactly what you get here.The difference here is that Dimwind are writing with a vigour and energy that has been missing from Mastodon. That is a different conversation so getting back on track Iāll just point you in the direction of the melodic change in the main verse of opening track The Chime. Itās a little touch but something that in the whole scheme of the song makes a massive difference to me in how I respond to it. Itās a massive way to start things off, its one of those songs where they have a lot to say, and they give it the space to unfold. Its closing moments are triumphant, moving forward in a perceived wave of positive melodic lines.As strong as that opening statement is, there is no time for resting, with My Uninvited Host trampling all underfoot, mixing groove in with its crushing arrangement. It suddenly comes to a halt, reaching backwards to lighten the mood. You know its not staying there for long and it starts to punch forward in the most satisfying way. Lovers of the riff will be at home here because its filled to the brim with them. Again, check out the closing minute or so for a prime example of this.
They have a definite knack of being able to meld good riffs with abrasive vocals and still sound like a moment of beauty. The Antagonists Speech, circa 2minutes in or Counterglow, where they gently apply the brakes and just relax for a while during the mid-point. Iām not just saying that these are relative high points, just examples within each. They balance heavy and soft in a way that seems intuitive, at least to them.What this means as a listener is that we are spoiled from start to finish. I appreciate that is quite the statement, but from my perspective itās the truth. Iām not quite sold on the whole post-metal thing, I suppose its because Its not thrash metal, but Iām not going to sit and say that this is poor because itās not played at a 1000mph. Its an album that has moments of stark beauty to it.You only have to listen to it to understand that, even I can hear it. I mentioned that audio kinship with Mastodon, where they share that similar ability to turn on a sixpence within a song. Here, they do it two or more times, and they land it every time.The closer, Absorbing The Infinite Impermanence is magnificent in how it develops, building itself until it gets to the end. Looking at those pesky tags, yes, they are all of those things, I donāt think you or they could argue with that. But to pigeonhole them to those tags, well I think you would be missing the point. 8/10
Nick Oliveri – N.O Hits At All Vol 10 (Heavy Psych Sounds) [Joe Guatieri]
There is no other way to say it, Nick Oliveri is one of my favourite musicians of all time. The man has played a big part in so many bands that I love like Kyuss and Queens Of The Stone Age and has even more projects and collaborations that heās put his name to. With his own band Mondo Generator, they have hit a height of consistency in fantastic releases also.
Today weāll be diving into Nickās long running series of compilations, N.O. Hits At All, which covers songs that heās been a part of throughout his career. I have previously reviewed the last two releases, volumes 8 and 9 which I really enjoyed, how will it fare with volume 10?
The record opens with Luv Is Fiction, a track that sees Nick singing over a song which doesnāt know whether itās Hair Metal or Hardcore Punk. The song revolves around a riff that sounds like vanilla Rage Against The Machine, yeah itās bouncy but it doesnāt go anywhere and ends up being uninspired. The chorus has what sounds like back-up singers with headbands on all singing into the same microphone whilst Nick is up front. It doesnāt match his style whatsoever and has no bite to it.
Track two presents us with Up And Down Under which is a much more welcome addition here. The instruments swirl together like a tornado with punchy drums and a smooth bass. Its classic Stoner Rock stylings stand out from being derivative as there is a big emphasis on attack in the song and thanks to its use of dynamics, it feels like that itās forever moving forwards, capturing people in its groove.
This is where my frustrations with this album come to boiling point as with the next not two but six tracks, they have all been used as part of the N.O. Hits At All series before. This is beyond disappointment and utter laziness on Nick Oliveriās part. All he had to do was type in the songs already and seen that he had picked them before, even on the last fucking release with one of them! No wonder why they started sounding so familiar as I have heard them all before.
There is one more song on here which hasnāt been on a compilation and this is track nine with Bad Boy For Love. Itās a classic acoustic song in Nickās style, a weird psychedelic synth hums in the background as the guitar sends us off to space. Then all thatās good goes to shit again, as the next two songs have once again been used on previous compilations.
Three original songs to volume 10 is a joke, itās so much more than just an admin error, it lacks any sort of common sense and feels like a blatant lie. The song Lockdown is the most egregious, it was previously used on volume 1 and it makes me want to tear my hair out, HOW?!This is a plea to Nick Oliveri himself. You can still make wonderful music that I connect with but please stop with N.O. Hits At All before itās N.O Fans At All. This isnāt a celebration, itās starvation! 1/10 -
āIād love it to become a musiciansā platform ā curated, high-quality, and fairā: Why Steven Wilson launched Headphone Dust
He hopes to overcome the limitations of physical media and streaming, and wants other artists to join him -
King Crimson Legends Highlight Cruise to the Edge 2026: Review
Cruise to the Edge 2026 featured prog-rock royalty, including three members of King Crimson's revered '80s lineup. Continue reading… -
Yes Announce New Album Aurora And Release Title Track Video
Progressive rock legends Yes have announced their 24th studio album Aurora, set for release on 12 June 2026 via InsideOutMusic and Sony Music. The current lineup of Steve Howe, Geoff Downes, Jon Davison, Billy Sherwood and Jay Schellen continue to push forward creatively with a record that blends heritage with fresh ideas.
Steve Howe described the process as a collaborative experience, highlighting the bandās ongoing commitment to evolving their sound rather than revisiting the past.
“Making this record was joyful,” Steve Howe told us. “A chance to play, exploreĀ and give everything to the music. It’s always been about collaboration. Somebody can write a song,Ā but until everybody puts their contribution in it, it isn’t really a Yes song.
The band have also released the title track Aurora, accompanied by an animated video created by Matt Hutchings. The album features ten tracks including Aurora, Turnaround Situation, Countermovement and Emotional Intelligence, showcasing a mix of expansive compositions and shorter, focused pieces.
Work on the album began following the Classic Tales Of Yes tour in 2024, with the band adopting a modern, collaborative approach, developing ideas across home studios before bringing them together into a cohesive final record.
There was no preconceived concept at the start, just a collection of musical fragments that gradually began to find one another and take form. “Among these early sketches was a piece titled Aurora,” the band said, “and it quickly became clear that the name carried certain gravity. It suggested light, emergence, and a sense of vastness, qualities that resonated deeply with the band.”
Jon Davison remembers how “the title immediately resonated with Steve Howe and sparked visual inspiration for artist Roger Dean, setting a conceptual tone that would guide the project.”
Aurora represents another chapter in the Yes legacy, combining their signature progressive style with a continued drive to explore new musical territory.
Aurora will be available in multiple formats including deluxe vinyl, CD and Blu-ray editions featuring Dolby Atmos and surround sound mixes, alongside digital versions. Pre-orders are available from yes-band.lnk.to/Aurora.
Yes – Aurora, set for release on 12 June 2026 via InsideOutMusic and Sony Music Yes – Aurora Tracklisting
- Aurora 07:27
- Turnaround Situation 05:50
- Love Lies Dreaming 06:24
- Countermovement 13:48
- Ariadne 06:18
- All Hands on Deck 03:04
- Outside the Box 04:20
- Emotional Intelligence 03:30
- Jambustinā (Bonus Track) 04:24
- Watching the River Roll (Bonus Track) 04:42
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Hardline Release New Album Title Track
The Melodic Hard Rock band Hardline have released the title track ‘Shout‘ as their new digital single and video. The song is taken from the upcoming studio album. Singer Johnny Gioeli: “SHOUT as the title of this album is EXACTLY what it isā¦. The idea that created the title comes from the millions of ideas […]
The post Hardline Release New Album Title Track appeared first on ROCKPOSER DOT COM.