Dream Theater have been living on the road behind Parasomnia since the record landed in February 2025, and by Jordan Rudess’s count, the cycle has stretched into a full-on marathon. In a new chat with Costa Rica’s Backstage Magazine, the keyboardist framed the last stretch as the kind of run a band only gets a few times in a career — especially with a major lineup piece back in place.

Rudess put it plainly (transcribed by Blabbermouth): “Well, it’s been a very exciting year. We’ve been on tour for over a year now… We’ve been having a great year. It’s been wonderful to have Mike Portnoy back in the band after so many years. He kind of came back home, if you will, which has just felt so good. So, the whole last — whatever it’s been — 15 months of running around the world and playing shows and putting out our Parasomnia album has been pretty, pretty awesome.”

“It’s been a great time in a very long career. And I guess to kind of like top it off, ’cause when we see all of you [in Central and Latin America], it’ll be the last phase of the world tour, it’ll be a nice way to do it because we know the fans are really great and they’ll be excited. And I’m sure that’ll just be a great celebration for everybody,” he added.

For anyone who’s followed Dream Theater through the years, that “back home” line hits the core of what longtime fans wanted: chemistry that feels natural, and a band that sounds locked in while still taking the same risks. Rudess makes it clear that the touring grind has felt rewarding rather than routine, and the final leg in Central and Latin America is being treated like the send-off lap.

He also dug into what it’s like to stand in front of big crowds night after night playing music that leaves very little room to breathe. The band’s live headspace, as he describes it, is equal parts adrenaline and focus, and that balance is part of the job.

“What we do is pretty interesting because when you think about people like us, bands or any entertainer, artist being in front of large audiences and getting the kind of love and emotion and energy from the audience, plus the emotions that we feel just in our internal world, just the band by being together and making music for this many years and all that, you can really get hit with a big wave of kind of intensity, and it can be very joyful. It can be really amazing.”

That’s a solid way to describe the Dream Theater experience from both sides of the barricade: the room pushes, the band pushes back, and the songs demand full attention. Rudess took it further, talking about how that intensity becomes a life skill, especially for younger musicians learning how to perform under pressure without letting the moment take over.

“It’s always been an interesting thing for me and something that I’ve tried to even share a lot with younger people, younger musicians or anybody who has to get in a situation where they have to be in front of the public and have to deal with emotions that are more than just sitting in their own home and just hanging out or being with a friend, because we all get kind of pushed into these situations where life can get kind of challenging and challenging not always in a bad way, but even in a way, like, something’s happening, and it’s a big emotion and you have to know how to kind of deal with it and keep thinking clearly and keep kind of being aware and, in our case, being able to play intricate music while there’s a lot of stuff going on, whether it’s the audiences cheering or there’s noises or we’re playing a really hard section of the music.”

“So, for me, that kind of being able to focus and being able to absorb those emotions and still remain calm is probably one of the biggest life lessons. It’s allowed, I think, all of us in the band to kind of become the people who we are and to refine our craft in a way that we can get up there and we can play a complicated Dream Theater song. And I mean, we’re human beings — we make mistakes certainly — but just to be able to perform at a high level and to do it and to feel the joy and to put out the energy and to share that with everybody, it’s kind of a big deal,” he summed up.

Next up, Dream Theater are taking that mindset into a spring 2026 Latin America run, continuing the “An Evening With Dream Theater” format. The plan celebrates Parasomnia by playing the album in full, and it also brings back a major centerpiece: the entire seven-movement “A Change Of Seasons,” being performed for the first time since Mike Portnoy returned, alongside other staples and fan favorites pulled from across the catalog.

The post JORDAN RUDESS Says “It’s A Big Deal” To Be Able To Perform DREAM THEATER’s Complex Music “At A High Level” appeared first on Sonic Perspectives.

Former Megadeth guitarist Marty Friedman recently came back to one of the biggest “what ifs” of his early career: the late-’80s audition for Ozzy Osbourne’s band. In a new interview with Argentina’s TCDG Guitar Lessons, he laid out the situation as he remembers it: down to the clothes, the scene, and the feeling that he walked into the wrong movie.

“They actually called me when I lived in San Francisco. I was in Cacophony at the time and completely broke, almost homeless. But [Ozzy’s wife and manager] Sharon Osbourne called me up and said if I wanted to go to L.A., they’d fly me out to L.A. to audition. I’m, like, ‘Wow, that’s cool.’ So, I did the audition and played,” Friedman remembered (via Blabbermouth)

“I thought I did a good job. But I didn’t really match the vibe of the band very much. They were full-on L.A.-metal type of guys with handcuffs in their belts and Jack Daniel’s t-shirts, and they were all decked out for rehearsal. And I understood doing that for a show, but at rehearsal, they wore cowboy hats and all kinds of necklaces and jewelry. And they were full-on Sunset Strip rock mode. And I came in a t-shirt and jeans. I looked like a regular guy waiting for a bus or something,” Friedman added.

From his side, the playing part felt solid. He learned the material, ran through the set, and left thinking it sounded fine. The bigger issue came from everything around the notes: who fits, who hangs, who looks like they belong in that specific machine.

“I played, and I thought it went well. And it did sound fine to me, and it was no problems. I learned, like, four songs, and we did ’em bam, bam, bam, and it was fine. But we were in this rehearsal hall. There were all kinds of envelopes with cassettes and resumes, and so they were probably trying hundreds of guys. And so I never heard back from them. And then finally Zakk Wylde got the job. And he was just perfect. He was so much better than I would’ve been for that gig. He was just right, and he plays really well. So I understood it, but at the time I thought, ‘Well, I did a good job, but I don’t think those guys are gonna [pick me].’ They probably went out drinking and partying right after rehearsal, and I was a real good-boy type of guy. Really boring.”

That same story came up again when Friedman talked about it publicly at Rock ’N’ Roll Fantasy Camp’s Metalmania III event in November 2023 in Los Angeles. His takeaway stayed consistent: the performance side held up, but the image and chemistry carried more weight than most players want to admit: “I failed miserably. I think it was probably because of the way I looked.”

“I was practically homeless at the time, living with my then-girlfriend and dealing with the rent and all that stuff, as California rock musicians do. And I was so happy to get the call. So I learned the music, went down to L.A. — they flew me down to L. A. to play with the band. And it was, I guess, the guys who were in the band at the time. And I thought I played everything absolutely just fine, and I thought it sounded great. Everybody was friendly enough. But our images were very different. It wasn’t like these three guys are gonna get together and jell, even though it sounded fine, I thought. I mean, I thought I played everything correctly.”

For metal and hard rock fans, it’s an honest reminder of how many moving parts exist behind a “dream gig.” You can walk in prepared, nail the parts, and still miss because the band wants someone they instinctively click with. Friedman put it in blunt terms: vibe first, chops second.

“Being in a band is so much more than playing. And, actually, the playing is kind of down on the list. If you have the same kind of vibe with the people, you can just kind of smell it: ‘This is the guy I wanna hang out with.’ And it was different on that level… They smelled like L.A., and I smelled like San Francisco, which was a different smell. Neither of us smelled very good. But they were cool. Everybody played everything great. They were auditioning thousands of guys. So I didn’t get it,” Friedman mused.

“A band is just… It’s more about the personalities between the people. Because there are so many great players who can play every gig, you know what I mean? It’s really about who you wanna hang out with? I would have loved to have gotten the gig, but they were probably just getting ready to go back out drinking, and I’m not a very big drinker, so it wouldn’t have jelled so well. But at the time I was, like, ‘Oh, I played it perfectly. Why didn’t they call me back?’ But I get it [now].”

The irony, of course, is that missing that audition never slowed him down. He helped shape shred guitar alongside Jason Becker in Cacophony, became a defining piece of Megadeth’s rise in the classic thrash era, and built a solo catalog that leans hard into his “Marty-esque” phrasing and the mix of Eastern and Western ideas; fifteen solo records and counting.

The post MARTY FRIEDMAN Remembers Auditioning For OZZY OSBOURNE: “I Did A Good Job, But I Didn’t Match The Vibe Of The Band” appeared first on Sonic Perspectives.

Good Day Noir Family,
“Tequila at Dawn” by JCCutter arrives like the soundtrack to a sunrise over a dusty highway, where the taste of bourbon and memories still linger on the tongue.

Tequila at Dawn is JCCutter’s Single Out Now

The track wastes no time in diving into a country energy that feels refreshing, yet the first impression is only the doorway.

As the guitar lines begin to shimmer beneath the vocal delivery, you sense a journey ahead—one driven by instinct rather than routine.

The beat carries a forward-leaning drive, and the intoxication comes not from the alcohol implied in the title, but from the rhythmic pull that convinces you to move. Small instrumental details continue to appear, keeping the song alive as it unravels. One moment, the fiddle jumps in and adds warmth. A moment later, the electric guitar slices through with a tone that recalls classic Americana. This balance gives the single a steady pulse that mirrors a night out in Nashville, where the evening feels endless and dawn arrives before anyone is ready.

Meanwhile, the vocals are delivered with grit and charm, staying true to modern country tradition. The lyrics suggest that salvation sometimes arrives in a glass and a whisper, and because of that, the track gains emotional depth without becoming heavy-handed. Furthermore, the gospel-style touches in the backing vocals introduce another layer, making the chorus feel communal. You can picture strangers locking arms and singing together as sunrise paints the sky.

Although the track is grounded in country roots, it never sounds old. The production is sleek, punchy, and studied. AI has not been used as a crutch; instead, it appears employed as a subtle sharpening tool. The result is a mix that feels modern while preserving authenticity. Listeners who crave organic storytelling will find a home here, and listeners who seek energy will not be disappointed.

It is easy to imagine this song blasting from car speakers as wheels roll across long desert roads. The freedom it offers is contagious. “Tequila at Dawn” is not just a song—it is a small cinematic escape, a drink shared between strangers, and a reminder that sunrise can sometimes start a new chapter rather than end one.

Tequila at Dawn is JCCutter’s Single Out Now!

Ferocious!

JCCutter, hailing from New Mexico, United States, embarks on a musical journey that encapsulates resilience and perseverance. Influenced by years of global travels and facing a myriad of challenges, JCCutter’s music reflects personal hardships as well as the strength found within communities.

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Good Day Noir Family,
CAR287 return with unapologetic grit on their single “Back and Forth,” a track that wastes no time in announcing itself as a force.

Back and Forth is CAR287’s Single Out Now

The opening guitar riff charges forward with the weight of a runaway engine, instantly establishing that this is music designed to hit body and nerves.

There is no hesitation in its identity: it is raw, it is loud, and it is here to move the listener.

Although the song bursts in with intensity, it quickly shows there is more at play than brute strength. The vocals arrive with a tone that balances confidence and restraint, pushing the verses forward while still leaving room for tension to build. Then the band pulls energy back—allowing the chorus to strike with even more power. This dynamic control becomes one of the most memorable aspects of the track. Furthermore, the decision to let the drums cut the tempo in certain phrases adds a sense of acceleration, giving listeners the sensation of being caught inside shifting gears.

Stylistically, “Back and Forth” lives where alternative rock meets punk grit. Yet, there is also a sliver of nostalgic melody that sits just beneath the aggression. It occasionally recalls bands like Bad Religion, especially in how the tune finds emotion through a hook that is simple but surprisingly effective. This contrast between toughness and emotional undertones is part of what keeps the song engaging from start to finish. Additionally, the recording carries a sense of authenticity that feels unfiltered—there is no glossy varnish here, just musicians who trust their instruments and instincts.

As the track moves forward, the guitars refuse to let go of control, but they do so without overshadowing the rhythm section. The bass and drums form a sturdy spine, reminding listeners that CAR287 are more than distortion and volume. They know how to pace, how to breathe, and how to let heaviness feel earned. Because of this balance, the chorus lands with an almost anthemic quality, the kind that begs to be shouted back in a crowded room.

“Back and Forth” is a reminder of how visceral and honest rock can be when it is played by musicians who choose instinct before perfection.

Back and Forth is CAR287’s Single Out Now!

Intense!

CAR287 are a Winnipeg-based rock band shaped by years of basement jams, bar gigs, and a deep love for guitar-driven music. Blending the spirit of ’70s rock with the energy of 2000s indie, their sound is built on big hooks, driving riffs, and honest songwriting.

What began as an eclectic cover band evolved into a fully original project, powered by booming vocals, expressive guitars, solid rhythms, and a no-nonsense rock attitude. CAR287 deliver raw, confident rock that proves experience on stage can turn into a sound of their own.

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The post Back and Forth is CAR287’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Hailing from Toronto, Ontario, VALYEAR has quickly carved out a place as a relentless force in the alternative/metal scene. Their sound fuses the raw edge of Skid Row, the rebellious swagger of Mötley Crüe, and the heavy grit of Drowning Pool, yet remains unmistakably their own.

Formed in 2014 by powerhouse vocalist Chad Valyear, the band truly came into focus with their 2017 self‑titled EP. Initially recorded with studio collaborators, that release set the foundation for the band’s definitive lineup: Geoff Wilson on guitar, Joe Petralia on bass, and Mane Ribeiro on drums.

In the hard rock and metal world, fallouts rarely stay private. One comment turns into a thread, a thread turns into a rumor, and soon fans argue like they were in the van back in ’84. That’s the backdrop for Jeff Scott Soto talking openly about wanting a clean reset with Yngwie Malmsteen, decades after their early run together on Rising Force (1984) and Marching Out (1985).

During a recent interview with Artists On Record With Stefan Adika, the legendary singer explained how, when people keep asking about a broken relationship, silence becomes its own headline.

“Well, you gotta pay a little more attention to Blabbermouth and all that stuff going on out there, because if you did, you’d know that there’s absolutely no relationship between Yngwie and I right now. I’m trying to change that,” Soto said (via Blabbermouth). “Even on your show, I’ve been trying to extend that olive branch and trying to fix and change it. And the thing is, everybody thinks I want something out of Malmsteen, that, ‘Oh, you’re just doing this ’cause you’re trying to get back with him. You wanna work with him.’ No. I just want peace. I want love and harmony between me and everybody else I’ve ever worked with in my career.”

“And that’s why I keep extending, overextending that olive branch, because I’m 60 years old. Who knows how much longer I’ve got on this planet? I wanna walk away with no enemies, a clean slate. Everybody in my life, I just wanna have good relationships with them. And Malmsteen [and me], we have no speaking relationship. We don’t talk. I don’t go to his shows. He doesn’t come to mine. But hopefully one day we can change that,” Soto added.

The recent noise came from Yngwie Malmsteen taking aim online at some former vocalists for “trying to capitalize from his brand”. Jeff Scott Soto says fans immediately assumed the post targeted him, and he had to put the fire out fast.

“My phone was blowing up for two days [after Yngwie posted that]. Everybody thought he was talking about me again. And he wasn’t. He was talking about two other former singers who are going out and doing shows based on a tribute to Yngwie or a tribute to the time that they spent with Yngwie. And I guess that they were promoting that, and he caught wind of it, and that’s where that came from. Nothing to do with me,” Soto explained.

He also drew a hard line between celebrating history and cashing in on it. That distinction matters in this scene, where “tribute” can mean respect or opportunism depending on who is telling the story.

“I’m not doing anything where I’m going out doing Yngwie shows or trying to capitalize on his name or his legacy. Not at all. All I do is I post things online to celebrate — celebrate my involvement, celebrate the things I did with him, because I have a legacy too, in my own world, or however you want to call it. It’s part of my history too, so I celebrate that. I’m not trying to toe the line, I’m not trying to do anything, and try to get anything from him in those terms.”

Then there’s the other part of Yngwie Malmsteen’s jab: asking what certain singers have “recorded” and “created [in] the last 30, 40 years”. Jeff Scott Soto answered that one like a working musician who keeps receipts.

“You definitely can’t put that on me, because if you look at the past 30, 40 years, I’m on easily over a hundred records. Just my solo records alone, I’ve got eight solo records. Then you do the W.E.T., you’ve got Talisman. So I’ve been busy. You can’t ask, what have I done? I’ve done a lot,” he reflected.

“Everybody thought he was referring to me,” “They’re sending virtual hugs: ‘Dude, we got you, man. We understand what you’re going through. We read this stuff, and it’s not fair.’ I say, ‘Hey, he wasn’t talking about me. It’s cool.”

Whether you love his voice or not, that’s the reality: Jeff Scott Soto has stayed active. In metal, longevity is its own argument.

The most interesting part is how practical this whole thing is. He says he has no direct line to Yngwie Malmsteen, so he uses interviews and public appearances as the only available “message in a bottle” approach. It sounds old-school, but it fits: most legacy feuds survive because nobody wants to make the first human move.

“I wouldn’t know how. I don’t have any numbers, any contacts, or anything, so I wouldn’t know how to reach out to him. But there’s enough I put out there when I do interviews or do anything, even Cameos. I put it out there all the time that I would love to just bury the hatchet, whatever that hatchet is, and just walk away as friends again one day. I’d love to go to shows and be in the audience watching the show and not saying, ‘Oh, man, hopefully one day he’ll have me back.’ It’s not about that at all. I did my time with him. If someday, one day, he wanted to do something like that, I’d absolutely be open to it. But I’m not looking for that. I don’t need that in my life in terms of that’s the only thing I have going for me. I got a lot going for me. I just wanna be the guy’s friend again.”

And when pushed to address Yngwie Malmsteen directly, he went straight to the point: shared history, respect for the work, and a request to clear the debris.

“Hey, listen, Yngwie. We’ve got a lot of history, man. We go back over 41 years. We made some great music together. I got to sing on your two classic records that everybody loves, and somewhere along the way we’ve stumbled on some blocks, on some roadblocks, on some walls. Let’s put ’em aside. Let’s break bread again. Let’s be buddies. I don’t need anything from you. You don’t need anything from me, but I just wanna be your friend again. There’s my olive branch extended once again. I love you, I respect you, and I cherish and treasure everything I ever did with and for you. So if we can fix this someday, I’m all in.”

Finally, he framed it as bigger than business; more like unfinished life stuff. That hits different in a genre built on pride, independence, and grudges that last longer than band lineups.

“I know his wife. I never met his son, and that would be a nice thing. I’d love to meet the next generation of the Malmsteens, his son. He’s got a kid. I know his wife. Everything was cool. We had a great relationship. There were times when I was possibly coming back and singing with him back in the day. These things didn’t pan out — whatever. I don’t want or need that. I would like to just say, ‘Hey, let’s be buddies again.’”

The post JEFF SCOTT SOTO Says YNGWIE MALMSTEEN Recent Online Rant Wasn’t Directed At Him, Explains He Would Love To Reconnect: “Let’s Break Bread Again” appeared first on Sonic Perspectives.

Hard rock and metal have always sold the myth that willpower beats everything: pain, age, bad luck, bad gear, bad promoters, bad everything. But every once in a while, someone says the quiet part out loud. In a recent interview with Spain’s MariskalRockTV, Dave Mustaine described how these decisions actually start: messy, practical, and tied to whether your hands will do what your brain is screaming at them to do.

Asked if he remembered the exact time when he decided it was time bring Megadeth‘s career to an end, he explained (via Blabbermouth): “No. No, ’cause I just brought it up. I didn’t decide. We were working in the studio [on Megadeth‘s upcoming self-titled album], and it had been a really difficult few weeks. We were trying to get everything done, and it was obviously important to us to make sure that the record was done right. And we had a bunch of deadlines that we ran up against, which made it hard and stuff like that. And my hands were hurting really badly. And then one day, I said to my management, ‘You know, I don’t know how much longer I’m gonna be able to do this.’ I didn’t say, ‘Hey, I wanna retire right now.’”

There are two realities inside that quote that metal fans will recognize instantly. First: the studio pressure. Deadlines don’t care that you’re trying to make something worthy of the name on the cover. They don’t care that you’ve built a legacy on precision and speed. They just show up and squeeze.

Second: Mustaine‘s line to management was not a retirement speech. It’ was closer to the grim, honest check-in you have when you realize you might not be able to “push through” this time.

Mustaine didn’t speak about it like a mystery or a vibe. He named it and showed it: “Yeah, you can look right here on this hand. There’s a line right there that’s sticking up. That’s something called Dupuytren’s contracture, and it’s gonna make my finger come down like this. It’s already started, where it’s kind of bunching up a little bit. And then if you look at the tips of my fingers, they’re severely arthritic. So, all those bumps make it really painful to play.”

From the outside, it’s tempting to treat surgery like a reset button: get it fixed, rehab, return. But Mustaine framed it like a risk calculation, because that’s what it is when your hands are your livelihood.

“I’m gonna wait for that until I’m ready to try it, because if I try it now and I’m 95 percent, and I do a surgery and it sets me back, that would’ve been a bad decision. If I wait until my hands are causing a problem and I try it and it doesn’t work, well then I’ve toured everywhere, I’ve said farewell to everybody, and I’m not leaving stuff unsaid or unfinished.”

That’s a very metal way of thinking about it: not “How do I preserve the brand?” but “How do I avoid leaving the job half-done?”

Metal is full of survival stories, and fans love them for good reason. But there’s a difference between overcoming something and pretending you can outrun biology forever. Listening to Mustaine here, you can hear someone trying to manage that line: staying active without turning the whole thing into a compromise that feels dishonest.

The post DAVE MUSTAINE Opens Up About His Battle With Dupuytren’s Contracture And How It Sparked MEGADETH’s Farewell Tour appeared first on Sonic Perspectives.

Good Day Noir Family,
Tom Minor returns with “Change It!”, a track that feels like stepping into a fresh beam of daylight after a long night.

Change It! is Tom Minor’s Single Out Now

The piece rises on crisp high-frequency grooves, giving the rhythm a bright edge that shapes its character.

Very quickly, it becomes clear that Minor builds a song that grows through subtle shifts, bold phrasing, and a sense of freedom that keeps the listener alert.

The funk-leaning pulse interacts with an alternative streak, creating a hybrid texture that feels modern yet rooted in musical history. Moreover, the guitars slide between clean accents and richer chords, and the result creates a lightly urban tone. Minor’s vocal phrasing glides over this foundation with ease, carrying confidence without losing intimacy. His delivery suggests an artist who understands how to balance attitude and nuance.

As the track progresses, the harmonic structure broadens. Each section introduces new colors, giving the progression an evolving flair rather than a static one. Additionally, Minor pushes the arrangement further in the final stretch with a bold key change, and this shift injects a renewed spark into the song. The effect is unexpected and refreshing, showing how carefully Minor considers evolution within a single piece.

Toward the outro, layered background vocals begin to intertwine with the lead line. At the same time, a spoken-word texture rises under the main melody, and that detail enriches the emotional shading of the final measures. The interplay feels vibrant and intentional, giving the closing moments an almost theatrical impact.

Ultimately, “Change It!” works as a reminder of how creativity and instinct can coexist in the same space. Minor shapes music with a clear sense of identity, and this single confirms his ability to offer something fresh while still sounding unmistakably like himself.

Change It! is Tom Minor’s Single Out Now!

Whimsical!

Hailing from London N1, singer-songwriter Tom Minor draws inspiration from indie rock, new wave and punk, power pop, psychedelic and garage rock, soul and R&B etc. After years of all kinds of hack writing for others Minor now focuses on his own brand of ‘existential indie’, recently gathering praise all across the blogosphere for his debut album Eleven Easy Pieces on Anger & Disappointment and subsequent releases Future Is an F Word, Expanding Universe, The Loneliest Person on Earth, Next Stop Brixton and Bring Back the Good Ol’ Boys.

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Back in 2022, Godsmack frontman Sully Erna talked as if the band’s eighth studio release, Lighting Up The Sky, would be their final album.

“This is the last record we’re ever gonna do. This is the last run around the mill for us. We put every single ounce of energy and emotion into this album,” he told several outlets like 93X and the Everblack podcast, describing it as a full-stop moment for the group’s studio output.

He wasn’t claiming Godsmack were calling it quits, but he did suggest their time making new records might be over: “I’m not saying the band may be breaking up. What I’m saying is I think this may be the last body of work you get musically from the band.”

Since then, Godsmack have gone through major lineup changes, most notably, longtime guitarist Tony Rombola and drummer Shannon Larkin leaving earlier this year. Even with that chapter closing, Erna has repeatedly said the split was friendly and free of behind-the-scenes mess. And now, those changes also seem to have reshaped how he thinks about what comes next creatively.

In a recent appearance on Kylie Olsson’s Life In Six Strings podcast, Erna sounded much less locked in to the idea that the band’s recording days are finished. When he was asked if a tenth Godsmack album could happen, he answered: “I think there will. I said there wasn’t going to be, and at least I know there won’t be with the original members.

“Shannon and Tony have officially retired, and very honorably, and we’re still really good friends. There’s no drama there. I’m putting some new people in place. I’m still in some trial periods, but we have some plans coming in 2026 that we’re excited about. And it’s gonna be good. I mean, the band’s coming into the height of our career. All these years later, we’re hitting another moment where we’re doing our best attendance. And it’s kind of come full circle.”

With that shift in tone, it’s fair to wonder whether there were quieter creative tensions between Erna, Rombola, and Larkin, even if nobody is calling it conflict. For now, Godsmack are moving ahead, with a run of tour dates already on the calendar, hitting a couple of DWP Presents festivals (Welcome to Rockville & Sonic Temple) in 2026, plus a handful of dates in Europe.

The post SULLY ERNA Hints at the Possibility Of Another GODSMACK Album: “I Said There Wasn’t Going To Be, But I Think There Will” appeared first on Sonic Perspectives.

Good Day Noir Family,
Dirty Love by Omnesia arrives like a strange signal from another era, yet it feels completely alive in the present.

Dirty Love is Omnesia’s Single Out Now

 The track opens with an almost extraterrestrial texture, as if something unidentified is descending into the room.

However, within seconds, that initial tension transforms into a groove soaked in late-’70s energy. Therefore, the song immediately establishes its identity: rooted in vintage rock tradition, yet unafraid to push forward.

As the rhythm settles, a hypnotic flow takes shape. The band leans into funk-inflected rock with confidence, and consequently, the music starts to feel physical rather than cerebral. The bass moves with intent, while the drums keep everything grounded and loose at the same time. Meanwhile, the guitars paint wide arcs, alternating between gritty riffs and fluid phrases that feel instinctive rather than calculated. Because of this, the track never sounds mechanical or overthought.

Vocally, Dirty Love thrives on attitude. The delivery feels relaxed but sharp, as if the singer is fully aware of the song’s seductive tension and chooses restraint over excess. Moreover, the vocal phrasing locks perfectly into the groove, reinforcing the song’s sensual pulse. When the chorus arrives, the energy lifts subtly instead of exploding, and that choice keeps the listener engaged rather than overwhelmed. As a result, the song breathes naturally.

I liked the guitar solos a lot. Instead of chasing speed or technical fireworks, it favors tone and feeling. Each note lands with intention, echoing classic rock influences while maintaining a modern edge. In addition, the solo feels like a conversation with the rhythm section rather than a spotlight grab, which strengthens the overall cohesion.

What truly sets Dirty Love apart, however, is its philosophy. In an era dominated by rigid grids, programmed beats, and over-polished production, Omnesia chooses instinct and human interaction. The track feels alive, imperfect in the best sense, and driven by musicians who trust their chemistry. Even so, the production remains tight and clear, allowing every instrument to speak without clutter.

Ultimately, Dirty Love stands as a bold reminder that groove, imagination, and genuine musicianship still matter. It doesn’t chase trends, yet it feels timeless. Because of that, Omnesia deliver a song that resonates deeply with listeners who value authenticity and fearless creativity.

Dirty Love is Omnesia’s Single Out Now!

Real!

Julie Slick is a virtuoso bassist and composer known for her melodic invention and distinctive tone. She tours and records with the Adrian Belew Power Trio, her band EchoTest, and Jerry Harrison & Adrian Belew’s Remain in Light project celebrating Talking Heads. Her career spans international performances across the progressive rock and jazz worlds, with collaborations including Robert Fripp, Les Claypool, Danny Carey, Victor Wooten, Bela Fleck, and Stewart Copeland.

Robert John Tucker (drums, lead vocals) is a dynamic musician deeply influenced by Frank Zappa. He has performed and recorded with Jason Newsted’s Chophouse Band, Deborah Iyall (Romeo Void), Omnesia, Felsen, and other progressive and experimental projects, bringing power, groove, and character to every performance.

Anthony Parker, lead guitar Composer, recording artist, online teacher and social media guitar star with multiple hundreds of thousands of followers across media platforms. Lucky for Omnesia, also a friend of M2.

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