Category: news

Is TOOL Really Planning A Sphere Residency And A New Album?

Yes. Danny Carey says the band is actively working on new TOOL songs, aiming for a 2027 LP release, while also discussing a potential Las Vegas Sphere stint.

TL;DR

Danny Carey confirms TOOL is deep into writing new material with a goal of releasing their next album in 2027. He also reveals the band has been in talks about performing at the Las Vegas Sphere, calling TOOL “the perfect band” for the venue’s cinematic, fully immersive format. Carey describes the production demands as “intense,” noting Sphere residencies are costly and require multiple shows before turning profitable.

Reading about TOOL hits differently with volume. The Loaded Radio stream is live if you’re in that mood.

TOOL’s Next Chapter Is Officially Underway

For years, fans have wondered whether Fear Inoculum would stand as TOOL’s final full-length statement. That speculation just took a hit.

In a new interview with Spiral Out, drummer Danny Carey made it clear: TOOL is not only alive creatively — they’re actively building what comes next.

According to Carey, the band is “working on a lot of new TOOL songs right now,” with a defined objective: a new album targeted for 2027.

That timeline alone is headline-worthy. TOOL albums aren’t simply releases; they’re events that reshape touring cycles, fan discourse, and streaming patterns across the heavy music ecosystem.

And Carey didn’t stop at confirming new music.

Why The Las Vegas Sphere Makes Perfect Sense For TOOL

Carey acknowledged something longtime fans already know: TOOL is fundamentally a cinematic live band.

From Ænima through Fear Inoculum, the group’s shows have leaned into hypnotic visuals, layered symbolism, and immersive sensory design. The Las Vegas Sphere, with its wraparound 16K LED environment and precision spatial audio, feels less like a venue and more like a natural evolutionary step.

Carey put it bluntly: TOOL is “the perfect band for that.”

The band has reportedly been in talks about a possible Sphere run tied to the next album cycle. Watch our exclusive video report below or at this location.

Loaded Radio Recommends – Every Tool Album Ranked From “Masterpiece” To “Essential”: Where Does ‘Fear Inoculum’ Truly Land?

The Brutal Reality Of A Sphere Residency

Sphere residencies may look futuristic and effortless from the outside. Carey’s comments offered a reality check.

The preparation, he says, is “pretty intense.”

Not surprising. Sphere productions demand bespoke visual content, re-engineered staging, and audio mixes designed for an environment unlike any traditional arena.

Carey also highlighted the financial side:

• It’s “a very expensive endeavor”
• It “takes a while to get into the black”
• Bands must play multiple shows before seeing profit

In other words: Sphere isn’t just a gig — it’s a massive production investment.

Carey’s First-Hand Reaction To The Sphere

Interestingly, Carey admits he hasn’t attended a full Sphere show — but he has toured the building.

His verdict?

“Incredible.”

He even joked that simply looking around nearly triggered vertigo.

That detail matters. TOOL’s music already plays with tension, scale, and psychological space. A venue capable of physically disorienting artists during walkthroughs feels tailor-made for their aesthetic.

Metallica’s Sphere Plans Add Fuel To The Fire

Carey’s Sphere comments land amid reports that Metallica is nearing completion of negotiations for its own Las Vegas Sphere residency, expected in 2027 following the conclusion of the M72 tour cycle.

That parallel raises an intriguing possibility:

Could 2027 become the year the Sphere evolves into heavy music’s most prestigious residency stage?

Remembering Fear Inoculum’s Impact

It’s easy to forget just how seismic Fear Inoculum was upon release.

After a 13-year gap, TOOL debuted at No. 1 on Billboard 200, silencing doubts about whether progressive metal could still dominate mainstream charts.

Few bands can disappear for over a decade and return stronger. TOOL did.

Check This Out – Spiral Out: The 13 Best Tool Songs for a Mind-Bending Journey

Opiate2 And The Return Of TOOL Visual Storytelling

In 2022, TOOL surprised fans with “Opiate2,” a re-imagined and extended version of their early classic, paired with a short film.

The release marked the band’s first new video in 15 years, reinforcing a pattern: TOOL’s creative output isn’t frequent — but it’s deliberate, layered, and designed for longevity.

The Band’s Legacy Heading Into 2027

Formed in 1990, TOOL’s catalog remains one of heavy music’s most tightly curated:

• Undertow
• Ænima
• Lateralus
• 10,000 Days
• Fear Inoculum

Four Grammy wins, decades of arena dominance, and a fiercely loyal fanbase later, the band now stands at another inflection point.

New album.
Possible Sphere residency.
Fresh touring cycle.

That’s not nostalgia — that’s momentum.

Why This Matters Now

Progressive metal rarely moves at the speed of the industry. TOOL operates on its own clock, and yet every move sends ripples through ticket sales, streaming behavior, vinyl demand, and festival lineups.

A 2027 album combined with a Sphere residency wouldn’t just be a comeback — it could redefine what a modern metal live experience looks like.

And let’s be honest…

Does any band fit the Sphere concept more naturally than TOOL?

FAQ

Is TOOL definitely releasing a new album in 2027?
Danny Carey states the goal is a 2027 release. As with all TOOL timelines, expect ambition over rigid scheduling.

Is the Sphere residency confirmed?
No. Carey says discussions have taken place. It remains a possibility, not an announcement.

Has Danny Carey seen a Sphere show?
He has toured the venue but hasn’t attended a full performance.

Why is the Sphere significant for rock/metal?
Its immersive visuals and spatial audio allow bands to create experiences closer to cinematic installations than traditional concerts.

Which artists have performed Sphere residencies?
U2, Phish, Dead & Company, and The Eagles are among the early headliners.

Band Bio: TOOL

Formed in Los Angeles in 1990, TOOL fused progressive structures, alternative metal, and conceptual visual art into one of heavy music’s most distinctive identities. Known for complex rhythms, philosophical themes, and groundbreaking live visuals, the band has remained both commercially dominant and artistically uncompromising for over three decades.

The post TOOL Eyes Las Vegas Sphere Residency As Danny Carey Reveals New Album Target For 2027 appeared first on Loaded Radio.

Black Satellite: Bandleader/singer/songwriter Larissa Vale Interviewed by: Anders Sandvall Thanks to Emma Van Ryn at Motion Agency for setting up the interview. Promo pictures taken by: […]

The post Black Satellite – bandleader/singer/songwriter Larissa Vale appeared first on Metal-Rules.com.

Watch DOWN’s “Right Place, Wrong Time” video HERE.

Iconic heavy metal supergroup DOWN returns with a special cover of Dr. John’s “Right Place, Wrong Time!”

New Orleans native Dr. John was an American singer, songwriter, and pianist. His music combined New Orleans blues, jazz, R&B, soul, and funk. “Right Place, Wrong Time” was the first single from Dr. John’s 1973 album, In the Right Place, and became the most popular single of his career. The song has been featured in various films and television shows, including Dazed And Confused and American Horror Story: Coven.

DOWN’s cover and accompanying video, shot last March by Mike Holderbeast, comes in celebration of the Mardi Gras season and serves as a homage to Dr. John and his appearances on The Midnight Special TV series, a late-night musical variety show that aired from 1972 to 1981.

Elaborates vocalist Philip H. Anselmo, “Dr. John’s ‘Right Place, Wrong Time’ is probably one of the first songs I ever learned or knew of as a kid. We grew up in the French Quarter and Dr. John’s music was everywhere. Recording this song was something that I always wanted to do and I’m happy that I did it with DOWN. The video was an absolute blast to make. Even my mom is in it! Because of her, I know Dr. John’s music very well.”

Watch the video of DOWN’s festive rendition of Dr. John’s “Right Place, Wrong Time” HERE.

You know it’s DOWN as soon as you hear them. Featuring vocalist Philip H. Anselmo, guitarists Pepper Keenan and Kirk Windstein, drummer Jimmy Bower, and bassist Pat Bruders, there’s no mistaking those gargantuan riffs, swamp blues leads, crashing drums, and hypnotic howls for absolutely anybody else under the sun. The band upholds a certain tradition that countless fans celebrate, expanding their own musical mythos as they leave its pillars intact and untouched.

Stand by for updates on new DOWN music in the months to come. 

DOWN Live:

6/03/2026 Sweden Rock Festival – Norje, SE

6/05/2026 Mystic Fest Poland – Gdańsk, PL

6/21/2026 Hellfest – Clisson, FR

10/03/2026 Aftershock – Sacramento, CA

10/24/2026 Sick New World Texas – Fort Worth, TX

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http://www.instagram.com/down_nola

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Source: EARSPLIT PR

Wait, the funny Guitar Hero III song is turning 20?¹ What the fuck? Yes, indeed—what better way to kick off 2026 than to make the masses feel Olde? DragonForce needs little introduction to anyone who existed during the ’00s. Born from the remnants of black metal band Demoniac in 1999,² British guitarists Herman Li and Sam Totman have always been the tandem at the center of the band with their Yngwie-esque “more is more” philosophy. Valley of the Damned and Sonic Firestorm already got significant attention, but 2006’s³ Inhuman Rampage is the one that made the band infamous. Many called their songs too long, too fast, unplayable live, and too random, while also being all the same shit.⁴ And yet, they broke through in a US market hostile to proper riffs and solos. How could this happen, and why did no one stop them?

Inhuman Rampage was DragonForce throwing shit at a wall, and somehow all of it stuck. As much as they are influenced by Stratovarius’s melodic power assault, the backing harsh vocals (“Operation Ground and Pound”) and sheer ferocity point to other roots. The guitar work is undeniably beefy as much as it is shreddingly maximalist, decorated with all sorts of eccentric bleep-bloop effects (“Storming the Burning Fields”). Vadim Pruzhanov’s hook-laden keyboard (“Cry for Eternity”) and songwriting contributions (“Body Breakdown”) are a crucial melodic counterpoint sorely missed on the latest two albums. Finally, ZP⁵ Theart’s vocals are iconic for a reason. While not the most technically impressive nor multifaceted, he has a powerful and unique delivery that isn’t divisive the way a traditional Kiskean (Helloween) wail would’ve been, making this wild wankfest stand out even more among power metal bands. All of the above led to a remarkably consistent record. The album’s deep cuts (“Body Breakdown,” “The Flame of Youth”) are even stronger than the hits, and the amazing Japanese bonus track⁶ “Lost Souls in Endless Time” has always been the true album closer in my book.⁷

Inhuman Rampage ended up being a huge success, first on its own merits and then as part of pop culture. By this time, the world was finally starting to get over the whole nü and ‘alternative’ phase. Trends are cyclical, and DragonForce were in the right place at the right time; ambitious, complex songwriting and guitar solo virtuosity appealed to a wider audience in a way it couldn’t have 5–10 years prior. As for the elephant in the room, “Through the Fire and Flames” earned legendary status in 2007 as Guitar Hero III’s hardest song to master. Consequently, DragonForce became known as the “TtFaF” band, occasionally to the members’ chagrin. Many have forgotten they were already popular pre-Inhuman Rampage, playing shows with Helloween and Iron Maiden before headlining themselves. They got featured on a game because of their popularity, not the other way around. Regardless, the tie-in certainly didn’t hurt, and it’s part of the reason I am here writing about them today.

But if this was such a resounding success, why did no other bands try to replicate DragonForce? There’s no shortage of people who couldn’t have matched their speed or energy, as proven by grindcore and such. I think it’s a combination of several conspiring factors. For one, the second wave of power metal (roughly 1997–2006) at large was having its last hurrah around this time. Secondly, no one else had the same deranged bundle of influences that these guys had. Black metal, power metal, AOR, retro games—even if other bands tried, they wouldn’t have been able to understand Inhuman Rampage’s formula without these roots.

Inhuman Rampage remains one of my favorite power metal albums to this very day. DragonForce would later go on to switch things up, making more great albums followed by some mild disappointments, but none would catch lightning in a bottle as Inhuman Rampage did. And few even tried, for no one in the power metal scene currently sounds like old DragonForce, especially not the band themselves. Some are glad to leave this style behind, but I think there is a missed opportunity here. In a world of Archspires, it has become abundantly clear that there is still demand for bands who push the extremes, the boundaries of sanity and tastefulness. Trends are cyclical, and nü is rearing its ugly head again. Who will make the next Inhuman Rampage?

The post Yer Metal Is Olde: DragonForce – Inhuman Rampage appeared first on Angry Metal Guy.

Audition .

The post Audition videos from Chez Kane, Deej Roisin and Shelby Henry for vacant Skid Row singer position first appeared on Sleaze Roxx.

Heartbreak has always been one of the driving forces behind blues and blues rock. When relationships unravel, when trust is broken, or when love simply fades, the genre has a way of giving those emotions a voice that feels raw, honest, and unfiltered. From quiet moments of regret to full-scale emotional collapse, blues rock has long turned personal pain into powerful music.

Here are 10 blues rock songs about heartbreak that capture the agony, reflection, and hard-earned wisdom that come when love or loss changes everything.

Michael Burks – “Empty Promises”

Few artists conveyed emotional intensity quite like Michael Burks, and “Empty Promises” stands as one of his most devastating recordings. Built around a slow-burning groove and Burks’ fiery yet controlled guitar work, the song captures the frustration of believing in words that were never meant to be kept. His vocal delivery feels deeply personal, as if each line is drawn from lived experience rather than imagination.

There is no excess here. Every phrase feels intentional. The guitar solo does not simply decorate the track. It cries, bends, and wails in a way that mirrors betrayal and disappointment. Burks had a rare ability to blend modern blues rock power with emotional honesty, and this song remains one of his finest examples.

In recent years, the song has been noticeably covered by Christone “Kingfish” Ingram.

Free – “Heartbreaker”

Released in 1973, “Heartbreaker” is one of Free’s most emotionally charged recordings. Paul Rodgers delivers a vocal that drips with vulnerability and regret, while Paul Kossoff’s expressive guitar playing adds a layer of wounded intensity.

What makes the song so effective is its restraint. There is no dramatic overreach, no forced climax. The band lets the emotion sit in the air. Kossoff’s phrasing, in particular, feels fragile at times, as if he is barely holding things together. That sense of emotional balance on the edge is what makes “Heartbreaker” endure.

Joe Bonamassa – “Sloe Gin”

Joe Bonamassa has recorded plenty of emotional material, but “Sloe Gin” remains one of his defining performances. Originally written by Tim Curry, Bonamassa reshaped the song into a centerpiece of his career, especially through his live versions and his album Sloe Gin.

The song unfolds slowly, almost reluctantly. There is no rush to get to the solo. His voice carries exhaustion more than anger, and when the guitar finally takes over, it feels like an emotional release that has been building for years. Few modern blues rock recordings capture heartbreak with this level of patience.

Gary Moore – “Still Got the Blues”

“Still Got the Blues” stands as one of Gary Moore’s most recognizable recordings, and for good reason. It deals with lingering attachment long after a relationship has ended, the kind of emotional residue that refuses to disappear. Moore’s tone is rich and vocal-like, and his solo builds gradually from quiet reflection to full emotional release. It never feels calculated. Instead, it feels like he is working through something in real time. That honesty is why the song still connects decades later.

Rory Gallagher – “I Fall Apart”

Rory Gallagher rarely hid behind technique, and “I Fall Apart” is one of his most exposed performances. Rather than dramatizing heartbreak, he presents it as confusion, fragility, and emotional fatigue.

The song feels unsettled, almost unstable. His guitar lines are restrained, his voice slightly weary, and nothing feels overly polished. It sounds like someone trying to process loss while still in the middle of it. That immediacy gives the track its lasting power.

Eric Clapton – “Old Love”

“Old Love” is a co-write with Robert Cray and was built around unresolved emotion. Inspired by Eric Clapton’s complicated relationship with Pattie Boyd, the song explores what happens when a past relationship never fully fades. The slow pacing gives his guitar space to speak between the lines. His solos are not flashy. They feel reflective, sometimes even hesitant. In live performances especially, “Old Love” becomes less of a song and more of a quiet confession.

Stevie Ray Vaughan – “Life Without You”

Stevie Ray Vaughan poured everything into “Life Without You.” It is one of the most emotionally intense breakup songs in blues rock, both musically and vocally. His singing is raw and unguarded. At times, it feels like he is barely holding himself together. Then the guitar erupts, shifting from gentle reflection to explosive release. The emotional range is staggering. Few performances in Vaughan’s catalog feel this personal, this unfiltered, or this vulnerable.

Beth Hart – “Little Heartbreak Girl”

“Little Heartbreak Girl” finds Beth Hart at her most vulnerable and emotionally open. Written during a period of personal struggle, the song reflects her decision to turn pain, uncertainty, and mental health challenges into something honest and life-affirming. Recorded in Nashville and produced by Kevin Shirley, the track feels intimate from the first note.

Hart uses heartbreak as a broader emotional lens, touching on resilience, gratitude, and survival. Her vocal performance is both fragile and powerful, moving effortlessly between tenderness and strength. The song was dedicated to fans who supported her through difficult times, giving it an added layer of sincerity.

“Little Heartbreak Girl” stands as a reminder that heartbreak is not always about endings. Sometimes it is about endurance, healing, and learning how to keep going. In Hart’s hands, that journey becomes deeply personal and universally relatable.

Mike Zito – “Life Is Hard”

“Life Is Hard” is not a breakup song in the traditional sense. It was inspired by the death of Mike Zito’s wife, Laura, who passed away from cancer, and it was recorded shortly afterward as the title track of his album Life Is Hard.

There is no attempt to dramatize grief. Zito confronts loss directly, without filtering it through metaphor or bravado. His voice sounds worn, vulnerable, and honest.

The guitar remains restrained, never pulling focus from the emotion. It feels less like a performance and more like someone working through unimaginable pain in real time. In the context of heartbreak, few songs are this genuine.

B.B. King – “The Thrill Is Gone”

Few recordings define blues heartbreak more completely than “The Thrill Is Gone.” B.B. King captured the moment when love fades and emotional connection turns into memory. There is no bitterness here. Only acceptance. His phrasing, his vibrato, and his understated delivery give every line weight. Sometimes heartbreak is loud. Sometimes it is quiet. This song perfected the sound of quiet resignation.

The post 10 Blues Rock Songs About Heartbreak appeared first on Blues Rock Review.

On social media, the frontman shared the reasoning and emphasized that he is "enjoying life." Continue reading…

London-based melodic hardcore/emo four-piece Death of Youth are set to release their debut full-length album, Nothing Is The Same Anymore, on February 16, 2026. With roots in hardcore and influences ranging from Midwest emo to skramz, the group pulls from a range of sonic and thematic sources across the spectrum of punk to produce album that confronts the uncertainty, existentialism and political disquiet of modern life with insight, honesty, and heart.

The sound of waves hitting a shore that kick off opening track “Desensitized” provide the ideal landscape for a reflective album exploring the complex emotional issues of our time – one can picture themselves as the figure on the album’s cover, alone in a windswept place, resolutely forging a path ahead despite not quite being able to see. The waves give way to an explosion of raw, emotional sound and stirring lyrics; as frontman Rob David wails: “how many corpses will it take for us to hold ourselves accountable?” This album opener is one of unquestionable power, establishing Death of Youth from the get-go as ones to watch.

A much-needed anthem of resistance in fraught and troubling times, “Fix Your Heart or Die” stands firmly behind the message that “the right to exist shouldn’t be up for debate”, decrying the faux-righteous victim mentality of hateful bigots and reminding them that they will continue to remain on the wrong side of history. A pared-down bridge gives listeners time to reflect on this message before crescendoing in an epic halftime breakdown.

Rich with sophisticated rhythms and sonic texture, the equally politically driven “Bysdander” laments the modern-day tendency towards political disengagement and increased passivity in the face of violence, underscored by some excellent rhythmic work from drummer William Page. The bridge fades into a quiet, twinkly guitar and steady beat overlaid by snippets of President John F. Kennedy proselytizing about peace for all mankind during a 1963 commencement address at American University, before exploding into an absolute, final wall of sound. These elements combine to make “Bystander” one of the album’s standout tracks.

In Nothing is The Same Anymore, the political is personal as well as societal, with the former perhaps best epitomized on the record’s title track, all about healing from trauma and learning to make space for change.

Though the album’s overall sound can be most closely associated with screamo, even the staunchest pop-punk fanatics will find lots to love among the record’s nine tracks – “Rumination” takes off running with a driving, classic pop-punk beat that cruises to a slowdown, hammering home the song’s intensity. Foot-stomper “The Inverse of Patriotism” explodes right out of the gate with the kind of force and power that will have you head-banging until you get dizzy, and effortlessly catchy “Invertebrate” slows down just enough to demand: “where’s your fucking spine?” An excellent question in these times.

It is in this sense that Death of Youth knows how to keep screamo interesting; through variations in tempo and experiments in rhythmic heterogeneity, tracks stay dynamic and diverse, never yielding to the predictability and flatness that can sometimes plague punk’s less melodic subgenres. This sonic variety is perhaps best exemplified on “Performance Art” and it’s funky, offbeat bridge, as well as “Castle Rock”, a slower, pain-drenched jam that puts the “emo” squarely in screamo. 

Cathartic, introspective, defiant and emotional, Death of Youth has crafted a tight debut album that, in a time of tractable apathy and weary disengagement, asks us not to look away, all while making space for the strength such action requires and acknowledging the disillusionment that often besieges us as we try to get there. Rounded out by a raw and impressive vocal performance from Rob David and stellar accompaniments from his bandmates, Nothing Is The Same Anymore is sure to please fans of Midwest emo, screamo and pop-punk alike. 

Fans eager for more from the UK-based group can check out fellow DS contributors Forrest and Katrina’s interview with frontman Rob David on the records that defined his life (especially if you want to hear three punks discussing ABBA at length). Be sure to head over to Death of Youth’s Bandcamp to stream Nothing Is The Same Anymore or snag a copy of it on some gorgeous flame-orange vinyl.

Twat Union: Don’t Blame The Peach EP (Alcopop! Records) Vinyl/DL/Streaming Available 20th February Order Vinyl here Don’t Blame The Peach, the second collection of feminist punk anthems from Twat Union, full of gags along with a fistful of home truths is out this week. Iain Key reviews with commentary from vocalist Kate Mac. Twat Union are a […]

The post Twat Union: Don’t Blame The Peach – EP Review appeared first on Louder Than War.

Duke Levine was born to play guitar. In fact, once he picked it up, there was no backup playing. “I didn’t really think about that much; it’s just what I assumed I would do,” Levine tells ClassicRockHistory.com. He explains, “I made a decision to join a full-time band instead of going to college, and my parents were very supportive… although I found out later that they might have been a little worried. ” Levine’s passion meant that he wasn’t thinking about anything stopping him, just that he’d succeed at all costs. “I took it all seriously,” he insists. “I studied

The post An Interview With Duke Levine Of Bonnie Raitt’s Band & Formerly Of The J. Geils Band appeared first on ClassicRockHistory.com.