Category: news

Post-black metal luminary expands tortured vision alongside members of Dødheimsgard, MØL and Predatory Void True to black metal’s fiercely individual spirit, upon moving to Norway at the end of the 2000s, Roman V. started BIZARREKULT as a lone wolf. Much like Roman’s previous two retreats into the studio, his upcoming third album emerged from a deeply personal […]

Source

“The Ghost Of A Future Dead” was said to have been recorded back in early 2025.

The post At The Gates Teasing Their Rumored Final Studio Album With Their Late Vocalist Tomas Lindberg appeared first on Theprp.com.

The post LESOTHO: No Clean Singing Premieres Title Track To A Flashing On Plain Glass, The Third LP From Boston Instrumental Post-Metal Band, Nearing March 13th Release appeared first on INFRARED MAGAZINE.

After over a decade of fronting the Brooklyn indie rock mainstays Sunflower Bean, Julia Cumming is going solo. Her debut album Julia is out this April via her new label home Partisan, and she’s announcing it today with the lead single “My Life.” Cumming made Julia with her collaborator Brian Robert Jones (Paramore, Vampire Weekend)…

The post Sunflower Bean’s Julia Cumming Announces Debut Solo Album <em>Julia</em>: Hear “My Life” appeared first on Stereogum.

HEGEROTH is a band playing broadly understood black metal, open to influences outside the genre, diversity, a wide spectrum of means of expression, and unconventional solutions… all while maintaining energy, speed, and 100% metal in metal. Hegeroth was founded in 2010 in Upper Silesia (Poland). The band’s music has evolved from symphonic and melodic black metal in its […]

Source

Dominique Fils-Aimé starts her new album with her mother.

An old cassette from the 1970s. Her mother, Claudette Thomas, singing a melody written by Patricia Carli and Léon Missir. No gloss, no framing, just a voice travelling across decades. A soft acoustic guitar joins it, then ocean waves, chanting, a low gong that seems to vibrate under your ribs. By the time Fils-Aimé steps in, My World Is the Sun has already set the terms.

This record doesn’t resist analysis so much as make it feel beside the point. The arrangements are precise and the musicianship is assured, but the feeling never gets buried under either. Much of it was recorded live at Studios Opus in L’Assomption, and you can hear that. There’s space between the instruments. Air around the piano. The trumpet appears briefly, then fades. A bass line leans forward for a few bars and slips back. Bassist and producer Jacques Roy handled the mixing and engineering, and he clearly understood that the room was part of the sound.

Fils-Aimé has been building toward this kind of record for a while. Her breakout on La Voix led to a trilogy of albums that worked through jazz, blues and soul with increasing confidence, and earned her Polaris recognition and Junos nominations along the way. My World Is the Sun feels like the moment she stopped proving anything. Gone Girl, her 2022 EP, was sharp and focused but kept a certain distance. This record is warmer and more personal, and takes more risks with structure and space.

On The River, pianist David Osei Afrifa plays with a patience that gives Fils-Aimé room to stretch her phrasing until words lose their edges. Percussionist Elli Miller Maboungou and tabla player Shawn Mativetsky pull certain tracks toward something West African and South Asian in feel without it ever sounding like a fusion exercise. These are textures in service of mood, not credentials on display. Hichem Khalfa’s trumpet shows up a few times and disappears before you can get a fix on it.

The album does have a sameness of tempo that occasionally works against it. Several mid-album tracks share a similar meditative pace, and without a sharp contrast to push against, the attention can drift before Rhythm of Nature arrives to anchor things. That nine-minute track, captured in a single take with executive producer Kevin Annocque on didgeridoo underneath layered voices, justifies the patience the album asks for. It’s the kind of track that doesn’t make sense on paper and lands completely in practice.

On Phoenix Rising, she sings, “Fire rain down on me.” It could tip into theatre. She doesn’t let it. The arrangement swells gently, leaving you with a mix of joy and grief that doesn’t sort itself out. Freedom Become moves closer to prayer, repeating lines like “May our thoughts gather as one.” It could easily veer into hollow uplift. It doesn’t, because she doesn’t oversell it.

Life Remains might be the one that sticks longest. There’s a looseness to it, a reminder to let a moment exist without picking it apart. The album closes with the outro returning to her mother’s melody, then a bonus track, a cover of Francis Cabrel’s Je t’aimais, je t’aime et je t’aimerai, accompanied only by pianist Camille Gélinas. It’s quieter and more private than the rest of the record, and it earns its place at the end.

Over the past two years, Fils-Aimé has played more than 150 shows across 15 countries. You can hear that in this music. Not exhaustion. Confidence. She sounds like someone who knows exactly how much to give and when to pull back.

It’s jazz, soul, blues, but spending too long on the taxonomy misses the point. This is a record that rewards patience and punishes distraction.

Her mother’s voice opens the door. Fils-Aimé closes the circle herself at the end. Not dramatic. Just complete.

My World Is the Sun will be released on February 20 via Ensoul Records.

Photo – Vladim Vilain

Share this :

The post Album Review: Dominique Fils-Aimé – My World Is the Sun appeared first on Montreal Rocks.

Kid Rock worked out a new arrangement with Ticketmaster for this upcoming trek.

The post Kid Rock Teams With RFK Jr. For ‘Rock Out Work Out’ Video, Draws Criticism For $5,000 Front Row Tickets To His New Tour appeared first on Theprp.com.

YUNGBLUD has announced ‘Idols II’, the second part of his 2025 album ‘Idols’, and it is arriving sooner than you think.

The release will be available digitally from February 20. That’s this Friday, by the way. It will be made up of six new tracks, one of them being the recently release new version of ‘Zombie’ featuring The Smashing Pumpkins. It will be made available physically later this year.

The full tracklisting now looks like this:

1. Hello Heaven, Hello
2. Idols Pt. 1
3. Lovesick Lullaby
4. Zombie
5. The Greatest Parade
6. Change
7. Monday Murder
8. Ghosts
9. Fire
10. War
11. Idols Pt. II
12. Supermoon
13. I Need You (To Make The World Seem Fine)
14. The Postman
15. Zombie (feat. The Smashing Pumpkins)
16. Time
17. War Part II
18. Blueberry Hill
19. Suburban Requiem

Dom had this to say about the release, explaining, “This is it. The second chapter of the Idols story. Part 1 was a journey that helped me reclaimmy identity from the darkest position I’ve ever been in my life. Part 2 is about realising that I am alive, that I am real, that this journey that I’ve been on didn’t kill me. It’s about realising that you
can feel invincible when you actually feel yourself. It’s about comprehending that my heart is
beating and that my lungs are filling up with air.”

YUNGBLUD was the winner of Best British Artist at the 2025 Rock Sound Awards.

In a special interview, Dom looks back over these twelve career-defining months to dissect the moments that changed everything, celebrate the people that made it possible and look forward to how he will further cement rock’s place back at the top.

Get your Yungblud magazine and poster plus an exclusive t-shirt at SHOP.ROCKSOUND.TV.

The post YUNGBLUD Reveals Details Of New Release ‘Idols II’ appeared first on Rock Sound.

It’s been two years since drum icon Carmine Appice and the revived Cactus first opened the doors to Temple Of Blues — a 15-track blast of heavy blues rock that pulled in a long list of guest players under the subtitle Influences And Friends.

Now the project returns with Temple Of Blues II, bringing another all-star lineup into the mix. Familiar names from the first volume, like Ted Nugent, Billy Sheehan, Ron “Bumblefoot” Thal, Dee Snider, and Pat Travers, connect with a new wave of guests including Steve Morse, Tracii Guns, Joe Lynn Turner, Rudy Sarzo, Alex Skolnick, and more.

The first single from Temple Of Blues II is out now, a fierce two-part take on “Back Door Man” featuring Sheehan, Eric Gales, and Artie Dillon.

Appice spoke about hearing the finished track: “When we finished “Back Door Man” and listened to the whole mix, it blew me away. Billy and Eric are amazing together on top of my drums.”

Often labeled America’s Led Zeppelin, the original Cactus grew out of Appice’s earlier work with Vanilla Fudge and Beck, Bogert & Appice, making their mark quickly after their 1970 self-titled debut. Temple Of Blues II reaches back toward those roots, even revisiting the band’s presence at the Isle Of Wight Festival. One standout moment comes with “Purple Haze,” which reconnects Cactus with Melanie — another favorite from that historic bill — as well as its headliner, Jimi Hendrix.

Appice reflected on Melanie’s unique presence: “Melanie‘s voice was so distinctive in that it could shift seamlessly from sweet to raspy. Her talent was versatile too — she was at home in front of the mic whether it be an anthem or a pop tune. That voice could sound childlike in one moment and full of wisdom and maturity the next. No wonder she and her work are still so beloved.”

The album continues with more guest-driven cuts. Pat Travers returns for “Moanin’ At Midnight.” Joe Lynn Turner teams up with Morse, Tony Franklin, Derek Sherinian, and Appice for “Bad Stuff.” Dee Snider and Tracii Guns take charge on “The Little Red Rooster.” Ted Nugent and Bob Daisley join forces for “Spoonful.”

Across the record, the goal stays the same: heavy blues rock played with grit, groove, and authority, with Carmine Appice’s drumming driving everything forward.

Temple Of Blues II will arrive on April 3 via Cleopatra Records.

The post CARMINE APPICE Brings CACTUS Back With Guest-Filled Blues Rock Sequel “Temple Of Blues II” appeared first on Sonic Perspectives.

(written by Islander) Just two days ago we hosted the premiere of an instrumental metal song by Utah-based Osmium Gate. We concluded the introduction by proclaiming, “It really is one of those songs that’s so emotionally evocative, so viscerally soul-stirring in its impact, that vocals are unnecessary, and indeed would have risked distraction from all […]

The post AN NCS PREMIERE: LESOTHO — “A FLASHING ON PLAIN GLASS” appeared first on NO CLEAN SINGING.