The post Rene Sagnelli VITA EVANESCENCE Review appeared first on Edgar Allan Poets – Noir Rock Band.

Boundaries have shared another piece of their upcoming album ‘Yearning: the unbeautiful after’, demonstrating that they still have a knack for penning a stunning melody within the chaos.

Titled ‘Only endless’, it is a seething, emotionally brash and gritty piece of metalcore the way it should be delivered. Spellbinding and shimmering in its own unique manner, with an absolute earworm of a choral hook, it is still devatatingly filthy when the heaviness and darkness is allowed to take over. The band are now three for three with this record, and all signs point towards it being a bit of a classic.

Vocalist Matthew McDougal had this to say about the track, stating,“Much of the record poses questions to listeners, probing if they identify with the sentiment of what’s been said and why they do or don’t.‘Only endless’ doesn’t ask anything of the listener. It describes a feeling. You can take what you will from it.”

Yearning: the unbeautiful after’ will be released on July 17 via Sumerian Records.

Matthew had this to add:

“With the record, we aimed to be uncompromising and really plant our flag. As more time passes, heavy music continues to lose its teeth. This genre is supposed to be threatening; it should have an edge and make you feel something. We tried to create an album with urgency.”

“The title, Yearning, is base level. What do you want from life, relationships, or whatever you spend time on? Time is the only resource with any real value; it’s the only thing you can’t get more of. You should deeply consider anything you choose to spend time on. The subtitle, the unbeautiful after, refers to the eventuality of what you’ve spent your time doing. The main questions are ‘What did you give yourself to? What is important to you? Where did it lead you?’”

And here is previous single ‘Death will follow me’:

The post Boundaries Share Shimmering New Track ‘Only endless’ appeared first on Rock Sound.

While most musicians don’t have a Violet Grohl marketing budget or rich, famous parents, there’s a lot we can learn from VG’s rollout.

The post What Indie Musicians of Any Age Can Learn from Violet Grohl appeared first on Rockmommy.com.

Italian quartet tellKujira releases La lucha es un poema colectivo, a new album conceived during an artistic residency at IRCAM in

British alternative rock four-piece Ruled By Raptors (who we most recently spoke to at Bloodstock last year) have officially announced the upcoming release of their brand-new mini-album, A Shadow That Never Moves, scheduled to land on Friday 2nd October 2026. To mark the announcement, the band has unleashed the record’s explosive first single, “Sleep Dep.,” … Continue reading Ruled By Raptors announce new mini-album ‘A Shadow That Never Moves’ and drop video for “Sleep Dep.”

Cruise To The Edge, progressive rock’s largest festival at sea, is back with another incredible lineup for 2027. For the first time, the cruise is six nights, April 2nd to April 8th, sailing out of Miami, Florida, with stops at Cozumel, Harvest Caye, and Costa Maya.

On Sale Dates:
2026 Alumni: Monday, June 1, 2026 at 2:00 pm Eastern
Past Alumni: Wednesday, June 3, 2026 at 2:00 pm Eastern
General On Sale: Monday, June 8, 2026 at 12:00 pm Eastern

Crusie to the Edge 2027 is headlined by Kansas, Steve Hackett, Big Big Train, and Asia. As always, there is a brilliant mix of classic and modern prog with some returning names alongside some first-timers.

Returning are cruise favorites Haken, Pendragon, Neal Morse & The Resonance, Von Herzten Brothers, Caligula’s Horse, Temic, Crown Lands, Spock’s Beard, and Moon Safari, as well as, Jane Getter Premonition, Thank You Scientist, Rendezvous Point, Lari Basilio, Gazpacho, Mike Keneally & Beer For Dolphins, Dave Cureton, Dave Kerzner and Friends, Marbin, and Gabriel Agudo.
Joining the cruise for the first time are The Dear Hunter, Lunatic Soul, Voyage 35, Ozric Tentacles, Cheeto’s Magazine, Haunt the Woods, Spafford, and Dim Gray.

Returning as hosts are Jon Kirkman, Roie Avin, and Mike Dawson.

Beyond the sun, fun, and exquisite dining, guests can look forward to artist/cruiser Photo Experiences, Q&A sessions, Theme Nights, Dueling Pianos, Late Night Karaoke, Wheel of Prog – Live, and much more—all designed to enhance the artist/fan experience.

In addition, the cruise will once again feature the incomparable CTTE Late Night Live, hosted by Rob Rutz, where fans can sign up to showcase their own musical talents.

Cruise to the Edge is truly the greatest prog-rock show on earth and is a can’t-miss event for prog enthusiasts throughout the world.

For more info, visit CruiseToTheEdge.com and follow @cruisetotheedge on Facebook, Twitter and Instagram.

The post Cruise to the Edge 2027 incredible lineup revealed featuring Kansas, Steve Hackett, Big Big Train and Asia! appeared first on The Prog Report.

Serguei Spoutnik is the solo project of Damien Lecoq who previously toured Europe with the band QDRPD. His debut EP, Subject, Verb,

The LA musician Syd is a veteran of Odd Future and the leader of the Internet, but she’s really come into her own as a solo artist, singing tough but expansive alt-soul. It’s been about four years since Syd released Broken Hearts Club, her last album. Last year, she shared the one-off singles “Die For…

The post Syd Announces New Album <em>Beard</em>: Hear “Callin” (Feat. Blu June) appeared first on Stereogum.

In 2024, Austrian police arrested two men who were reportedly planning an attack on Taylor Swift’s Eras Tour concerts in Vienna. One of the suspects pledged allegiance to ISIS, and a police bomb squad claimed to find “chemical substances” while arresting. Swift cancelled all three shows for safety reasons after the arrests, and an impromptu Swift fan convention broke out in the city’s streets in lieu of the concert. Now, one of those suspects has pleaded guilty to terrorism-related offenses and been sentenced to 15 years in prison.

The post Austrian Man Sentenced To 15 Years For Terror Plot Targeting Taylor Swift Concert appeared first on Stereogum.

Imagine the scene, if you haven’t already experienced it. You’re sitting in a dentist’s chair. You’re nervous, you don’t know what’s going to happen. Your wandering eyes settle on a humorous sign that reads: “Dentists don’t die, they just lose their pull”. You’re unsure if it’s a joke – or if it even works as a joke – but you’re not laughing, and at that moment, you see the outline of a silver-haired dentist in the doorway. Fear courses through your body. He says you “need some work”. And you’re thinking of that sign hoping upon hope that he hasn’t lost his pull and that this isn’t going to hurt.

Jim Ward has been making music since 1993; first as a founding member of At The Drive-In and then for 25 years with Sparta. He’s a musician with a lot of experience and he’s still making music, but has it lost its pull? Should you quake with fear? Is the record like a trip to the dentist?

The answer is a resounding “no”. ‘Cut A Silhouette’ is Sparta’s sixth album, the third since ending their creative hiatus in 2020. It’s an album clearly trying to recapture something. The title implies an outline or a shape they’re trying to fit into, but it turns out it’s not a sound they’re after. It’s a feeling.

Opening with ‘Split Lip’, the band quickly establish that they’re playing with the familiar Sparta sound. It’s post-hardcore, usually with a verse/chorus structure. There are lead guitars threaded through the songs, often playing around with different effects pedals for texture, and there’s a mix of sung and lightly shouted vocals – that sound. However, you can’t ignore the bigger, stadium, U2 edge to songs like ‘Mystery Of Missing’ and ‘Daydream’. That’s the shape they’re after – that’s the feeling. It’s like breathing – a combination of the intimate and the exhale.

Sparta’s defining feature (as with At The Drive-In) is the approach to lead guitar. Each song is shaped by guitar effects. On the louder songs like ‘Split Lip’ it lends definition. Notably, the sliding, pinching riff on ‘Mystery Of Missing’, or the really noisy blast of lead on ‘Everything You Say’, offer a slightly dangerous thrill and a knife-edge of tension. Elsewhere, on ‘See You Soon‘ and the soft, sparkly ‘Midnights’, they lend a soft atmosphere, enhancing Ward’s songwriting, which is remarkably strong.

Of course, Ward’s work exists in the shadow of At The Drive-In but what’s interesting about that is how it affects his place in culture. He was part of a band that sparked a genre and a movement, whose music captured a moment, whose subsequent work rode that momentum, but who then aged and evolved out of that centre of gravity – it leaves him in a strange place. Sparta have a certain cultural cache that allows them to retain an audience but they actually exist outside the bubble of mainstream excitement. It gives them licence to be creative, to soften the edges and to create something personal, for not just Ward, but for bassist Matt Miller and drummer Neil Hennessy too. The album’s sound relies on them actively working together in a room. You can hear this clearly on the stunning ‘Mouthbreather’, where the shuffling drums and twangy bass create an anxious tension, or ‘Crater’, where the interlocking parts function like a machine, allowing Ward’s vocals to drift gracefully over the top. It gives the record a newfound vitality, meaning it’s about recapturing that pull – the outline may be be similar to previous work but the figure casting the silhouette is revitalised.

Creativity and time have an unusual relationship. While you’re unlikely to write a symphony in a week, working quickly and under pressure can force innovation. This was Ward’s experience of making early records and the intention here was to capture the early thrill; not overthink, not overplay, just feel what is right. Given the evidence here, it appears to be a great way of working. Produced, engineered and recorded by J. Robbins, they have managed to capture a focused and fresh sound that wrings every bit of emotion from the songs. Perhaps the clearest example is the relatively stripped-back ‘Glimmer’, a quality piece of songwriting presented in a way that enhances its delicate vocal parts and allows the burnished honesty to shine through.

In many ways the record flows like a river. Although songs like ‘Without Your Hands’ offer a blast of energy, it feels like it’s flowing downhill, losing momentum but becoming broader as it does. In the second half the waltzy style of ‘I’ll See You Soon’ brings a pleasing change of pace, while ‘Mystery Of Missing’ feels like a crowd pleaser. Finally, ‘Glimmer’ sighs out the last of its energy in a wash of guitar effects like the mouth of an estuary meeting the sea.

Sitting in that chair, staring at the silhouette in the doorway, you don’t know what to expect, but with the strength of experience Sparta prove that musicians don’t age like dentists. They have more than just pull, they have their own gravity. ‘Cut A Silhouette’ is one of their most intimate and compelling records. A combination of inspiration, great songs and strict production choices make for an intoxicating mixture. Take a mouthful, rinse it around and you’ll find it leaves a strong taste.

IAN KENWORTHY