Back in 2022, when this project first emerged, BOLD REYNOLD seemed to be a prime example of those one-off endeavors where an inspired person gathers like-minded performers for a star-studded album which sparkle for a while and disappear without a … Continue reading
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Frankie Rose has announced her new album, HILA, and unveiled its first single, “Cant Be Wrong.” The 10-track record arrives on September 18 via Born Losers Records worldwide outside the UK and Europe, with Night School Records handling the UK and European release. Self-produced by Rose, the album follows 2023’s Love As Projection and carries her gleaming synth-pop into a darker interior shaped by grief, altered perception, and the unstable boundary between presence and absence.
Rose describes HILA as a record about loss and what might persist beyond the range of ordinary perception—the place mourning repeatedly returns to, suspended somewhere between transcendence and doubt. If Love As Projection reached outward toward the world, its follow-up turns that same melodic instinct inward, bringing the dark cosmos into a more intimate space.
Recorded following extensive touring with The Jesus and Mary Chain and Swervedriver, HILA was made primarily in Rose’s home studio, with additional recording at Treuhand Brooklyn. The sessions feature drummer Justin Welch of Elastica and Lush, alongside guitarists Ian Campbell and Chris Rager, bassist Jake Vest, and saxophonists Jeff Tobias and Matthew Friedlander. Additional production comes from Brandt Gassman, with Trey Frye mixing and Josh Bonati mastering.
As the album’s opening transmission, “Cant Be Wrong” serves as a bridge from the brighter electronic pop of Rose’s previous record into HILA’s more goth-laced dreampop atmosphere. A thumping ’80s funk-pop rhythm supports crystalline guitar, vaporous synthesizers, and Rose’s layered voice, which hovers above the track with a cool, aching clarity. The chorus rises into one of her characteristic soaring melodies, but the wings that carry it forward cannot conceal the wound beneath it.
The song is a love letter to someone no longer in this realm—an act of accepting that person completely, exactly as they were, only after their absence has become permanent. Its emotional tension comes from the part of grief that understands the fact of death while continuing to reject its finality.
The accompanying black-and-white video gives that suspended grief a landscape. A woman in a sleeveless dark dress walks across an immense, bleached salt basin ringed by serrated mountains. She is rarely alone for long: translucent doubles follow behind her, drift beside her, and disappear into the glare, turning a solitary figure into a procession of unfinished memories.
The landscape repeatedly folds over itself through multiple exposures, split screens, hard black bars, and the scratches of damaged film. Close-ups of Frankie Rose wearing oversized sunglasses are transformed into stark, hand-drawn portraits, repeated in triptychs and grids before being inverted into ghostly negatives. Grainy footage of two horses briefly breaks through the salt-flat imagery, adding another fragment of motion that feels recovered from some private archive.
As the edit becomes increasingly unstable, faces multiply, mountains slide out of alignment, and bodies appear several times within the same moment. The clip treats grief like a strip of film caught in a malfunctioning projector: replayed, duplicated, partially erased, and returned to the screen before it can fully disappear.
Watch the video for “Cant Be Wrong” below:
HILA is set for release on September 18 through Born Losers Records and Night School Records. You can pre-order the album here. It will be available on clear vinyl with a green center, black vinyl, CD, and digital formats. The limited clear-and-green edition can be ordered here.
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All’s well that ends in gold.
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By Ralph Greco, Jr.
Yes, Anika Nilles is killing it. Yes, Alex Lifeson and Geddy Lee seem to be having so much fun, flashing smiles and playing expertly. The filled-out sound with keyboardist Loren Gold adds a whole other dimension to the live performance. The band is rolling through some great songs, hits, and deeper cuts, both. And full disclosure, I haven’t attended — nor will I — any of the shows.
Is this Rush?
I know we are happy to see Alex and Ged back on the boards. So many fans either wanted to hear Rush music live once again (me included) or see these classic rockers for the first time on what they are calling their Fifty Something Tour. I get the attraction. And again, Anika Nilles is aces. She seems to be having so much fun, and from what I have heard and seen online, the crowd, not to mention Geddy and Alex, are so supportive, loving her every fill and snare snap. But for a band like Rush, a three-piece all of their lives, and Neil Peart having been such an integral part of the trio, as well as such a distinctive player, maybe one of the best rock drummers ever, without his presence and feel, is the band fans are racing to see on this new tour Rush?
Even the most casual fan knows the history here. Rush was all but done as a touring band, managing one last go-round on their R40 Tour in 2015. Then when Peart passed away in 2020 (really, that was so inconvenient of him!), there was truly no hope (at least in my mind) of ever seeing Rush live again. Geddy Lee had even said when the band ended, it was only Rush with Neil Peart in it. “But…” he added, “we will be playing 40 Rush songs. So what the fuck should we call it? Iron Maiden?” So now we have this four-piece lineup on this Fifty Something Tour.
And again, I ask: Is this Rush?
Nobody can damn Geddy Lee and Alex Lifeson, friends since they were 13, wanting to play, and again, it seems from what I have seen and heard, they still can, pretty much. And surely people want to see them still play, if evidence of tour ticket selling is any indication. And one can argue that Anika is just a hired hand, just like so many other hired hands in multiple classic bands using their original name going out with replacement members — The Who replacing drummer Keith Moon with Kenny Jones, even making albums with him, and the Stones producing what will be two albums sans drummer Charlie Watts, plus they have toured and the rumor is they will again.
Again, it’s been done before and I get it.
I just read Phil Ehart’s autobiography (see the review here), and a great read it is. But I disagree with the great Kansas manager and drummer in his view that his band still has legitimacy, filled as it is now with substitute musicians, playing concerts as Kansas, since it is, as Ehart says, the music that most matters. I’m paraphrasing Phil Ehart slightly, but that’s mostly his point on the matter.
To me, though, it is not only what the OG’s played but how they played, their very essence, if you will, their ‘feel,’ that makes the tunes. So, while the mighty Ms. Nilles might be able to replicate a Peart drum fill here and there, and she surely rocks hard, youthful exuberance aside, she does not possess the unique stuff that made Neil Peart Neil Peart, stuff that is so evident in Rush’s recordings and live sound.
I’ll save the last word of this probably less-than-popular opinion of mine from the great rock and roll movie, 1989’s Eddie & The Cruisers II: Eddie Lives! In the film, saxophonist “Hilton Overstreet,” played by Anthony Sherwood, says to “Eddie Wilson,” played by Michael Kevin Paré, “The way a man plays — he’s born with it; like fingerprints. He can hide under another name. But he can’t disguise the way he plays.”
Just like Geddy Lee, Alex Lifeson, Anika, you, me…and surely Neil Peart, a musician, painter, writer, what have you, can’t disguise themselves, their “fingerprints” are all over what they produce. And Neil Peart’s fingerprints, his Neil-ness, are all over Rush’s wonderful oeuvre, recorded and live. The band touring as Rush presently has Anika Nilles’ fingerprints on their live drumming and great as she is, she ain’t Neil Peart.
And I ask again: Is this Rush?
They were also announced as the openers for a U.S. tour with thrown, Norma Jean & BOLTCUTTER today.
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A series of two-night stops have been booked.
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Deep Purple have released another new single from their upcoming album Splat! The supercharged Guilt Trippin’ envisages a conversation between God and Charles Darwin, the pair sharing a pint or two as they reflect on how things on Earth have not exactly worked out as intended.
“The song starts, and I’m in the studio,” says Gillan. “I don’t have any words for it yet. So I just start screaming. It was the pure joy of yelling it.
“I vowed when I was 40 that I’d stop screaming by the time I was 60. Now I’m looking back and thinking, ‘Whatever happened to that?’ So we’ll give it a go.”
Guilt Trippin’ follows the release of first single Arrogant Boy in May, and Diablo earlier this month, and is accompanied by a video in which a fly and a sycamore-seed spaceship embark on a wild ride through an increasingly surreal landscape.
Splat!, which is produced by regular collaborator Bob Ezrin, will be released on July 3 and is available to pre-order now.
Deep Purple’s 2026 world tour is currently on the road in Europe, with North American shows scheduled for August and September. Further European dates follow, climaxing in a run of UK shows in November. Full dates below.
Ian Gillan has also just announced a series of spoken word dates. The Talking Gib’rish UK tour will commence on April 28 next year at the Bournemouth Pavilion, and come to an end on May 29 at London’s Cadogan Hall.
Deep Purple are on the cover of the new issue of Classic Rock, which is out now. Inside, they talk about the making of Splat!
Also available is the Deep Purple X Classic Rock bundle edition, which includes the new issue, a numbered print and a set of postcards, and Splat! on double yellow vinyl.
Jun 24: Mönchengladbach SparkassenPark, Germany
Jun 27: Coburg Open Air, Germany
Jun 28: Ulm Klosterhof Wiblingen, Germany
Jul 04: Gredos Músicos en la Naturaleza, Spain
Jul 05: Pamplona Navarra Arena, Spain
Jul 09: Málaga Starlite, Spain
Jul 10: Cádiz Tío Pepe, Spain
Jul 16: Pisa Summer Knights, Italy
Jul 17: Este Music Festival, Italy
Jul 19: München Tollwood Festival, Germany
Aug 04: Raleigh Red Hat Amphitheater, NC
Aug 08: Clearwater The BayCare Sound, FL
Aug 09: Hollywood Hard Rock Casino, FL
Aug 12: Wantagh Jones Beach Theater, NY
Aug 13: Mansfield Xfinity Center, MA
Aug 15: Halifax Scotiabank Centre, NS
Aug 17: Laval Place Bell, QC
Aug 18: Toronto RBC Amphitheatre, ON
Aug 19: Ottawa Canadian Tire Center, ON
Aug 21: Detroit Pine Knob, MI
Aug 22: Salamanca Seneca Allegany Casino, NY
Aug 24: Indianapolis Everwise Amphitheatre, IN
Aug 25: Highland Park Ravinia, IL
Aug 27: Prior Lake Mystic Lake Casino, MN
Aug 29: Winnipeg Canada Life Centre, MB
Aug 31: Calgary Scotiabank Saddledome, AB
Sep 02: Abbotsford Abbotsford Centre, BC
Sep 04: Lincoln Thunder Valley, CA
Sep 05: Mountain View Shoreline Amphitheatre, CA
Sep 06: Highland Yaamava Theatre, CA
Sep 08: Chula Vista North Island Credit Union Amp, CA
Sep 10: Las Vegas Planet Hollywood, NV
Sep 11: Long Beach Long Beach Amphitheater, CA
Sep 12: Sparks Nugget Event Center, NV
Sep 29: Sofia 8888 Arena, Bulgaria
Oct 01: Cluj BT Arena, Romania
Oct 02: Budapest Laszlo Papp Arena, Hungary
Oct 04: Bratislava Tipos Arena, Slovakia
Oct 05: Vienna Stadthalle, Austria
Oct 07: Prague O2 Arena, Czechia
Oct 08: Lodz Atlas Arena, Poland
Oct 10: Belgrade Stark Arena, Serbia
Oct 11: Skopje Boris Trajkovski Arena, Macedonia
Oct 13: Athens Telekom Centre Arena, Greece
Oct 16: Zurich Hallenstadion, Switzerland
Oct 17: Milan Unipol Forum, Italy
Oct 19: Barcelona Sant Jordi Club, Spain
Oct 22: Paris Adidas Arena, France
Oct 23: Antwerp Lotto Arena, Belgium
Oct 25: Copenhagen Royal Arena, Denmark
Oct 26: Stockholm Avicii Arena, Sweden
Oct 28: Oslo Spektrum Arena, Norway
Oct 29: Gothenburg Scandinavium, Sweden
Oct 31: Leipzig QI Arena, Germany
Nov 01: Hamburg Sporthalle, Germany
Nov 03: Dortmund Westfalenhalle, Germany
Nov 04: Berlin Uber Arena, Germany
Nov 06: Frankfurt Festhalle, Germany
Nov 07: Nuremberg Arena, Germany
Nov 09: Amsterdam Ziggodome, Netherlands
Nov 10: Strasbourg Zenith, France
Nov 12: Bordeaux Arkéa Arena, France
Nov 13: Nantes Zenith, France
Nov 15: Lyon LDLC Arena, France
Nov 18: Newcastle Utilita Arena, UK
Nov 19: Glasgow OVO Hydro, UK
Nov 21: Birmingham BP Pulse Arena, UK
Nov 22: Manchester AO Arena, UK
Nov 24: London Eventim Apollo, UK
Nov 25: London Royal Albert Hall, UK
Editors have announced their eighth studio album, Surface, Echo & Sound, and shared its latest single, “The Rush.” The 11-track record arrives on October 30, 2026, via Play It Again Sam, marking the band’s first full-length since 2022’s EBM, made with Benjamin John Power, aka Blanck Mass. Following April’s “Call It In,” the new single arrives with an official video filmed in Tokyo and directed by Henry Ehara.
Where EBM drove Editors further into electronic weight and industrial motion, Surface, Echo & Sound began with the band stripping the process back. After three albums largely shaped in the studio, they regrouped in the summer of 2025 and returned to the practice-room method of their earliest days in Stafford: facing one another, playing the songs together, trying different arrangements, and allowing the material to change in real time.
Frontman Tom Smith brought a collection of acoustic-based sketches to the sessions, following the pared-down approach of his solo album There Is Nothing In The Dark That Isn’t There In The Light. The band developed them on an unassuming industrial estate in Gloucestershire, not far from Smith’s home.
“It was a very productive summer,” Smith says. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate—it was pretty much the opposite of being in Berghain!”
“The Rush” is imagined as a bar-room conversation between two people drinking, talking about life, and reckoning with its ascents and collapses. At its centre is the temporary shelter found in another person’s company—a recurring theme for Smith, whether that comfort comes from friends, lovers, or family.
Smith plays mandolin on the track, one of the textures giving Surface, Echo & Sound its warmer, more organic core. Guitarist Justin Lockey, who recorded and produced the album, says the instrument is not being employed as a folk flourish.
“It’s not used in a folky kind of way, but it brings a warm element that can spike through anything in the mix,” Lockey explains. “A lot of the rhythms come from the mandolin and the acoustic as much as they do from the drums.”
On “The Rush,” Editors reconnect with the melodic post-punk of The Back Room and An End Has a Start, threading a trace of Johnny Marr-like jangle through the song’s driving groove. The mandolin contributes to that bright, chiming texture, locking with the acoustic guitar and drums beneath Smith’s resonant baritone. When the chorus arrives, it opens into the kind of soaring, cinematic release that defined those first two albums.
Ehara’s video puts that weight directly into the body. A red-haired woman and a man in a bald-headed prosthetic mask travel through Tokyo with a red suitcase between them, veering between dance, argument, support, and collapse. They spill across Shibuya’s famous scramble crossing, ricochet through a green-lit public bathroom, squeeze into lifts and taxis, make a call from a payphone, lie side by side on a bed, and eventually wander into a darkened cinema. There, after watching a fragment of black-and-white Japanese film, they climb in front of the screen and dance inside the projector’s white circle.
Shot with soft grain and handheld instability, the film turns neon streets, tunnel lights, traffic, and closing doors into a succession of thresholds. The suitcase begins to resemble portable emotional baggage, while the performers’ choreography makes intimacy look both romantic and rebellious. By returning to the crossing near the end, the video closes its loop: the city keeps surging forward, and the two figures keep trying to move through it together.
Watch the video for “The Rush” below:
Surface, Echo & Sound will be available on CD, cassette, black vinyl, transparent green vinyl, and an official-store-exclusive blue pearl vinyl, alongside digital editions and merchandise bundles. Editors are also scheduled to play festival dates throughout the summer of 2026 before undertaking a European, UK, and Ireland headline tour in early 2027.
Surface, Echo & Sound is out October 30 via Play It Again Sam. Pre-order or pre-save the album here.
Editors will spend the remainder of 2026 playing festivals and special appearances across the UK and Europe before launching an extensive headline tour in January 2027. The run includes major arena dates at Amsterdam’s Ziggo Dome and Antwerp’s AFAS Dome, followed by a UK and Ireland leg that concludes at Southampton’s O2 Guildhall on March 12.
2026
2027 — Europe
2027 — UK and Ireland
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