Alternative prog quartet HOLOSOIL release new single “Spirals” & announce debut EP
Alternative prog quartet HOLOSOIL are welcoming the new year with their newest single “Spirals”. The band presents a stunning music video, showcasing a hypnotic dance performance choreographed by Sofia Stadler. Featuring the circle of creation as the main theme of their newest work, the Berlin/Helsinki based quartet show themselves in bold, yet almost hidden waves, playing with tempo and elements of alternative and indie.
The single follows on prior released tracks “Cracks”, and “Look Up”. Additionally, the band has also announced their upcoming debut EP, to be released digitally April 2026 (InsideOutMusic).
“HOLOSOIL’s 3rd single is a mystical anthem of heterogeneous essence, swirling through genres and textures, in the image of the world itself.
The lyrics are about an existential spiraling of humanity back to where we come from. Falling from illusions of linearity – into the cosmic spiral of ancient and future merging in a never-ending circle of creation. How our striving for progress ironically is taking us back to the ancient wisdom of nature.”
HOLOSOIL BIO
HOLOSOIL is a band founded in 2024 by Victor Nissim (bass), Jan Kurfürst (guitar), Altaïr Chagué (drums) and Emelie Sederholm (vocals) . Although most of the band members are based in Berlin, Germany, Emelie lives in Helsinki, Finland while Victor and Altaïr are both French. The result is a gathering of eclectic musicians, manufacturers of a freaky, explosive and sophisticated sound.
Signed to InsideOutMusic in 2023, the formation previously known as R3VO featured in Metal Hammer magazine, performed at Euroblast Festival 2023 and was notably approached by Trinity Music to open for Scottish band “Vukovi“.
The release of 2 additional singles will lead up to HOLOSOIL´s debut EP, out in April 2026.
There are metal artists with a lot of different personalities and quirks. The genre is filled with characters and unique individuals who make this music so wonderful. However, this also comes with metal artists who have created reputations for being extremely rude and difficult. To some, this adds to the allure while others get annoyed with these antics.
Regardless, there are some metal artists who are both equally brilliant and combative. Extremely gifted and stubborn as a mule. These musicians fit that bill perfectly and have produced some of the best music in the genre. Moreover, they have also conceived some of the genre’s greatest feuds.
1. Ritchie Blackmore
Guitarist Ritchie Blackmore performing with British rock group Rainbow, USA, May 1978. (Photo by Michael Putland/Getty Images)
With the name Ritchie Blackmore comes enormous talent and creativity. There’s no doubt about that. But there’s also no doubt that he’s a difficult guy, to say the least. Several people who have worked with Blackmore describe him with words that are best not repeated here. And the guitarist often has similar words for those people.
The problems with Deep Purple vocalistIan Gillan were very famous at the time, and the protagonists acknowledged it. Creative differences, strong personalities, and tense dynamics were some of the causes. Blackmore referred to Gillan as Oliver Rude (a pun on the name of the English actor Oliver Reed). “He’s an intelligent man, but he just used to being so coarse. I didn’t like to be around the guy because I felt that he was doing things for shock value, to be talked about, for the hell of it.”
Blackmore‘s personality, along with the power he wielded in his bands, allowed him to do as much as he could as an artist. However, this also earned him many enemies, something that, on the other hand, didn’t seem to bother him. One of the greatest metal artists and one of the most combative personalities in the genre.
2. Axl Rose
The explosion of Guns N’ Roses at the beginning of their career was a phenomenon that has placed its members among stellar figures among metal artists, beyond what has been the rest of that career. Such a status achieved so quickly may have affected the egos of some, as seems to have been the case with Axl.
This often resulted in him arriving late to concerts or even leaving early, basically due to a tantrum or because he didn’t like something minor. Likewise, at the time, the hiatus of Guns N’ Roses in the mid-90s was, in part, the responsibility of Axl and his relationship with the rest of the members. It wouldn’t be until 2008’s “Chinese Democracy” that the band would return with new music and band members.
There is no denying that Axl Rose is one of the most peculiar metal artists out there. And his peculiar personality made him clash with a lot of people. It is something that has become part of the entire mythos of the genre.
3. Dave Mustaine
Continuing this series of metal artists with complicated personalities, it’s Dave Mustaine‘s turn. His feud with Metallica for several decades is quite well-known. It all stemmed from Mustaine‘s departure from that band in 1983. For a long time, the public became polarized, and this simply led to the problem growing and growing. For several decades, Mustaine used to say terrible things about Lars Ulrich and James Hetfield whenever he had the chance.
In recent years, those differences seem to have resolved. Additionally, he has had many problems with other musicians he has worked with in Megadeth, something reflected in the constant turnover of band members as well as with other bands. He has even had issues with an entire subgenre, as he recently declared that he was glad nu metal was dead. And if that weren’t enough, he has gotten into some trouble for controversial political comments at his concerts in countries like Ireland.
Mustaine is a genius, one of metal’s all-time greats, but he also has a difficult personality. However, much like Blackmore, that doesn’t seem to bother him. In many ways, perhaps that even has influenced in his success.
4. Kerry King
Throughout his long career, Kerry King has been involved in many disputes with other musicians. For example, his personal differences with Tom Araya, which ended up greatly affecting the band dynamics of Slayer. In 1985, he was briefly a member of Megadeth and, as expected, had problems with Mustaine, who, as we’ve seen, isn’t easy either.
He said of Mustaine, “He’s cool, but that he can’t help but stick his foot in his mouth.” Interestingly, despite his differences with Mustaine, the two seem to have similar opinions on nu metal. King said he “never liked Limp Bizkit and bands of that era. It just bummed me out and turned me off.” The Slayer guitarist said that the success of those bands affected his work in the 90s with Slayer, which, now, he admits he didn’t like.
5. Robb Flynn
I’m starting to think there’s something wrong with guitarists, and for some reason they have difficult personalities. This is where Robb Flynn, founder and frontman of Machine Head, comes in. While they seem to have a good relationship now, Flynn once said that Kerry King and Jeff Hanneman were “dicks.”
He also said that in the ‘80s and part of the ’90s, he was so immersed in Metallica and Exodus that Slayer simply didn’t appeal to him. Another issue with Flynn is his marked political stance, which, unlike other metal artists, he doesn’t tend to hide and professes openly. All of this combined was a perfect one for the several different controversies he has been a part of.
6. David Lee Roth
David Lee Roth is one of those metal artists who, in a way, symbolizes the genre’s rebelliousness with his crazy and energetic on-stage personality. However, he has also carried it off-stage. His most famous conflict was with his longtime bandmate, Eddie Van Halen.
As usual, the problems were a mix of different visions they had for the band along with strong personalities that ended up clashing. The issue was never really resolved when Eddie died in 2020. Alex Van Halen, Eddie‘s brother, tried to organize a tribute tour for his recently deceased brother, in which David Lee Roth was going to participate. However, he refused to pay tribute to Eddie in any way.
7. Yngwie Malmsteen
Malmsteen as seen on stage.
Well, a list of this kind wouldn’t be complete without good old Yngwie. Technically and artistically, there are many good things to be said about the Swede. However, his personality, well, that’s a different topic. Yngwie has developed a reputation (quite justified) for being arrogant. To the point of having no shame in speaking ill of other guitarists.
In fact, he’s even been called an egomaniac. The Swede often mixes a self-praising attitude with hurtful comments toward other musicians, even those he’s worked with. He is a generational talent, one of the finest guitar players to ever live, but it is also true that he is equally conflictive. This is a prime example of how genius can be extremely difficult to work.
8. James Hetfield and Lars Ulrich
This spot brings Metallica‘s main duo together. Their relationship with Dave Mustaine, which for many years was ugly, especially on both sides, has already been covered. But we also have that time they messed with the bandWinger in the video for “Nothing Else Matters”. There, Lars is playing the drums, using a photo of Kip Winger as a target. That small feud started because of the duo’s disdain for 80s glam metal. This moment in the video even considerably affected Winger‘s image.
Another moment where James and Lars were very rude was when they mocked Layne Staley‘s (Alice in Chains singer) heroin addiction onstage. Furthermore, during the 90s, Ulrich claimed that metal was no longer viable for them, which angered the fans. There is also the situation with Napster, which vindicated the drummer in recent years but caused him problems in the metal community.
Hetfield‘s issues with former bassist Jason Newsted also need to be highlighted. The former Flotsam and Jetsam wasn’t allowed to write music with Metallica and couldn’t do it in other projects either. This caused a rift with the vocalist and Newsted would leave in the early 2000s. It was the nature of the beast at the time and highlights Hetfield and Ulrich‘s combative personalities.
9. Phil Anselmo
Phil Anselmo, the formidable frontman of Pantera, Down, and Superjoint Ritual, has long been a polarizing figure in the metal community. His aggressive vocal style and commanding stage presence are matched by a history of controversial actions and statements.
In 2016, Anselmo faced widespread condemnation after being filmed giving a N*** salute and shouting “white power” at the Dimebash tribute concert. Initially dismissing the act as a joke about white wine, he later issued an apology, acknowledging the offense caused and expressing remorse.
Anselmo’s career has also been marked by feuds and internal band conflicts. His strained relationship with Pantera bandmates, particularly the Abbott brothers, contributed to the band’s eventual dissolution. Despite his undeniable influence on the genre, Anselmo’s confrontational demeanor and controversial incidents have left a complex legacy, intertwining musical brilliance with personal tumult.
10. Glenn Danzig
Glenn Danzig, founder of the Misfits, Samhain, and his eponymous band Danzig, is renowned for his deep baritone voice and pioneering contributions to horror punk and metal.
However, his career is equally noted for a series of conflicts and controversies. Danzig’s tumultuous relationship with Misfits bassist Jerry Only led to legal battles over the band’s name and merchandising rights, culminating in a settlement that allowed Only to continue under the Misfits moniker.
Beyond band disputes, Danzig has been involved in physical altercations, most notably a backstage incident in 2004 where he was punched by North Side Kings frontman Danny Marianino following a disagreement over set times. In 2025, Danzig faced backlash for merchandise featuring the So****rad, a symbol appropriated by N**i Germany and associated with white supremacist groups. Despite calls for clarification, Danzig has remained silent on the matter, further fueling controversy.
11. Geoff Tate
For a long time, Geoff Tate was the undisputed voice of thinking man’s metal. As the frontman of Queensrÿche, his four-octave vocal range and theatrical delivery helped create masterpieces like Operation: Mindcrime and Empire. However, as the band’s success waned in the 2000s, the internal dynamics became as dramatic as their concept albums. Tate began to exert more control, leading to significant creative friction with the rest of the band, who felt marginalized in their own group. The tension boiled over in 2012 in a truly ugly fashion.
Before a show in São Paulo, Brazil, Tate allegedly assaulted his bandmates, spitting on drummer Scott Rockenfield and pushing guitarist Michael Wilton. The altercation led to Tate being fired, sparking a bitter, two-year court battle over the rights to the Queensrÿche name.
For a while, there were two versions of the band touring, causing immense confusion for fans. While Tate is undoubtedly one of the greatest vocalists in metal history, his need for control and the subsequent public mudslinging permanently scarred the band’s legacy.
12. Sebastian Bach
Much like Axl Rose, Sebastian Bach is the archetype of the volatile, high-energy frontman who helped define the late 80s and early 90s metal scene. With Skid Row, Bach’s powerful vocals on hits like “18 and Life” and “Slave to the Grind” were undeniable. However, his “wild child” persona often crossed the line from rebellious to destructive. He developed a reputation for being a loose cannon, both on and off the stage.
One of the most infamous incidents occurred in 1989 in Springfield, Massachusetts, when Bach threw a glass bottle into the crowd, injuring a female fan, after someone had thrown an object at him. Furthermore, his loud-mouthed personality led to a heated feud with Jon Bon Jovi—the very man who helped Skid Row get their start—whom Bach threatened to punch out.
Ultimately, his inability to get along with bassist Rachel Bolan and guitarist Dave Sabo led to his dismissal in 1996. The fact that the classic lineup has refused to reunite for decades, despite the potential for a massive payday, is a testament to just how difficult Bach can be to work with.
13. Gene Simmons
Gene Simmons – Image Credit: Facebook
It is almost impossible to compile a list of difficult metal artists without including the KISS co-founder. Gene Simmons has built a career that is equal parts musical legacy and shameless self-promotion, and his mouth has gotten him into trouble nearly as often as it has made him money. The man has never met a microphone he couldn’t turn into a controversy.
Perhaps his most indefensible moment came in 2014 when, during an interview, he told people suffering from depression to essentially end their lives. The backlash was immediate and fierce, with musicians across the genre condemning him. He later apologized, but the damage was done, and it confirmed what many in the industry had long suspected: that Simmons’ lack of a filter goes far beyond rockstar bravado into genuinely hurtful territory.
His feuds with fellow musicians could fill a book on their own. He has publicly taken shots at everyone from Eddie Van Halen to Prince to entire genres of music he deemed inferior. He once declared that hip-hop and rap were not real music, alienating a massive portion of the music community in a single sentence. He also attempted to trademark the “devil horns” hand gesture that Ronnie James Dio popularized, a move that was met with universal ridicule from the metal community and was eventually abandoned after widespread mockery.
Then there is the ego itself, which operates on a scale that makes Yngwie Malmsteen look humble by comparison. Simmons has openly bragged about his wealth, his romantic conquests (claiming to have been with thousands of women), and his business acumen at every available opportunity. While nobody questions his success, the way he carries himself has rubbed virtually everyone in the industry the wrong way at some point. He is a marketing genius and a genuine rock icon, but he is also the guy most likely to make you roll your eyes in any interview he gives.
Celebrate Def Leppard’s Vegas Residency With New Single ‘REJOICE’ !
THE BAND KICKS OFF THEIR LAS VEGAS RESIDENCY AT THE COLOSSEUM AT CAESARS PALACE ON FEBRUARY 3
Def Leppard have released their new single “Rejoice”. The dynamic track comes ahead of Def Leppard’s triumphant return to Las Vegas for their Def Leppard: Live at Caesars Palace The Las Vegas Residency that kicks off February 3. “Rejoice” is available via UMe now on all streaming platforms – Listen Here.
On the creation of the song, lead singer Joe Elliott shares: “This song’s been an amazing journey from concept to conclusion. I said to Phil [Collen] one day, ‘I’ve got this idea for a lyric where the narrator is at absolute rock bottom and wants to rise up to a higher level. Do you have a musical piece that might match with that?’ And he said, ‘As it happens, yes I do.’”
Guitarist Phil Collen adds: “I had this riff, this idea for a song a while ago actually, so when Joe came to me I created this drum loop based with a tribal sound and it fit perfectly with this other arrangement I had. I sent it to Joe and it was like magic – he sang straight over the top of it. And that’s how the song was formed. Then we gave it to Ronan [McHugh] who’d done a proper drum loop with different sounds. It all started gelling and just sounded like a powerful chant. We love it. It’s hard rock for us. It’s got a bit more of an ‘oomph’ than stuff we’ve been doing for a while. It’s kind of magical.”
Fans can expect a brand new electrifying show and hear “Rejoice” live alongside classics from Def Leppard’s timeless catalog of hits at their Las Vegas residency. Def Leppard: Live at Caesars Palace The Las Vegas Residency runs through February 28, 2026 at The Colosseum at Caesars Palace. These new shows follow the band’s sold-out residency successes in 2019 and 2013. For more information and to purchase tickets, please visit ticketmaster.com/defleppard.
Winter in all its dullness has choked me into submission for yet another entry regarding my whereabouts these past few months. The season is often regarded as one of the most treacherous, due to its everlasting ability to bore the living shit out of anyone within its frigid grasp. Making sense of your surroundings is especially difficult during this time of year in New England, because everything just blends together into a blurry mess of muddy snow and achromatic anarchy. Though, despite the lack of color and overall life outside my window, I have somehow managed to find motivation for this project I love so dearly. Autumns Eyes remains a beacon amid a sea of disparate ideas, forever shaping the path I continue to follow.
Music always comes first in this operation, so daily duties typically arrive with some form of melody standing at my doorstep. I’ve found myself extremely fortunate while crafting the skeleton of this new album, with pre production paying off as the sounds fit together perfectly. Either I’ve actually learned a bit over the years, or I’m just so easily flattered by songs that don’t have such dense layers as the last album, which often found me drowning in too many overlapping elements. Whatever it may be, I am thankful for the progression, as it makes things that much easier when it comes time to mix and master the final product. As I’ve said in prior entries, the sound of this album is very much in line with the album “Ending Life Slowly”, so to call it a spiritual sequel would be more than appropriate.
With music at the forefront, I’ve also been shifting my attention towards merchandise, an area that I feel has been sorely lacking in the Autumns Eyes department for some time now. Years ago I was pushing out new designs monthly, with a slew of support from models I hired to help promote the product and spread the good word. It was a time when Autumns Eyes found more notoriety in the underground metal community, a task that has proved almost impossible in such an oversaturated market these days. While it’s not so much about competing in that landscape, I’d rather say it’s about supporting the brand as much as possible. The only issue I face is new designs and a solid marketplace to offer them, which are details I’m ironing out as we speak. A proper update is on the horizon, it’s just going to take a bit of time to get there.
Studio work has also become a necessity as of late, and by that I mean something that pays the bills. I started offering up my freelance work to anyone interested in web design, graphic design, photography, video production, music production, and marketing services. Obviously my clientele tends to skew more towards my own niche market, but the doors are always open to anyone interested. I don’t plan on creating social channels for Beneath the Woods, as I feel Autumns Eyes will draw enough eyeballs in that department for the time being. As jobs come and go, I remain grateful for the chance to do what I love daily, and look forward to new collaborations with those who share a similar creative journey.
These pieces all add to the puzzle that make my life such a pleasant space to fill. I feel as I’ve aged, and turned 44 this past December, that days no longer matter as much as they used to. They kind of come and go just as water would pass through a stream. I used to obsess over the intricacies of each day, to the point where it would consume me with trepidation. I found that, overall, meaning and purpose don’t come from the adherence to structure, but rather from the result of letting go to an extent. Call it life being too short if you will, but I don’t have time for any frivolous nonsense that doesn’t make me happy. The world will always see eras of turmoil, that will forever be a part of life, but it does not have to carry such an impact that drags me down with its decrepit gang of bottom feeding leaches who thrive on negativity. I haven’t the time nor the desire to engage in such things, so I simply discard of them.
I see a life ahead of me filled with family, friends, fans, and genuinely caring people I am fortunate to surround myself with for whatever time I have left here. That, in and of itself, is enough to keep me smiling, let alone the fact that I get to create with Autumns Eyes on a level that allows me to express all those twisted little ideas swirling in my head. The same ones I had as a child, a teen, and now an adult, all stemming from a creepy curiosity towards all things dark and demented. It’s a great feeling, and one I look forward to every day I get to open my eyes.
Music is like a life story told through words, melody, and rhythm. We listen to it to see ourselves and express who we want to be.
In a genre like heavy metal, there are a number of individuals who do just that. Despite battling with Asperger’s—a form of autism spectrum disorder characterized by significant difficulties in social interaction, alongside restricted and repetitive patterns of behavior and interests.
Even though music has changed a lot, many musicians with Asperger’s make great music. This is why we choose to honor them by talking about some heavy metal musicians who have Asperger’s syndrome, now referred to as autism.
Craig Nicholls
Craig Nicholls, the Australian musician, is the lead singer, songwriter, and guitarist for the alternative rock band The Vines. He has been the only continuous member of the band, which became popular when they released their debut album “Highly Evolved.” Nicholls was diagnosed with Asperger’s Syndrome in 2004, a condition that has affected his behavior and interactions.
He has been open about his struggles, stating in interviews that Asperger’s could be the root of some of his past destructive behavior. Despite his diagnosis, Nicholls has continued to make music, releasing a double album titled “Wicked Nature” in 2014, in which he sings about environmental themes. His condition has led to canceled shows, such as in 2008 due to deteriorating mental health, and an incident in 2012 where he assaulted his parents and a police officer.
Marty Balin
Marty Balin was an important part of the famous rock band Jefferson Airplane, helping establish it. Interestingly, Balin’s successful music career happened alongside his experience with autism. Balin’s love for music began in his childhood and grew into a diverse style, from psychedelic rock to punk, bringing him great success. What many didn’t know was that Balin had autism, a part of himself he kept private at first.
As Balin became more famous, he decided to use his influence to raise awareness about autism. He spent a lot of time on projects focused on autism, like a documentary about families dealing with its challenges. This shift from keeping it private to actively supporting autism awareness marked a personal change for Balin and added to the wider conversation about neurodiversity.
Courtney Love
Courtney Love, known for her talents in art and acting, has a side to her life that’s not widely known—her experience with autism. Even though she had been aware of this since childhood, it only became public during an interview with Rolling Stone in 1994. Love being open about her autism didn’t overshadow her successful career. As a highly accomplished artist and actress with multiple Grammy Award nominations, it’s clear that autism hasn’t stopped her creative journey.
Beyond her individual achievements, Love has inspired young female rockers with her bold personality and significant impact on music. Instead of letting autism get in her way, Love has embraced her role as a performer and has gone on to become one of the great female musicians of our time despite her autism.
David Byrne
David Byrne, the person behind Talking Heads, is known for being his own person, making his music and performances different and special. He openly talks about having “mild Asperger’s,” saying it’s an important part of his artistic expression. Instead of seeing it as a problem, he thinks it adds something crucial to his unique and powerful art. Byrne has a deep view on autism, saying that everyone being different is beautiful.
He believes that each person is special in their own way and doesn’t see the need for people to conform to what society thinks is normal. Byrne wants us to celebrate these differences and not stick to what’s considered “comfortable” by society.
Joe Walsh
Joe Walsh, well-known for his role in the rock band The Eagles, has talked about having Asperger’s syndrome, sharing his personal story of how his life has been filled with difficulties and moments of self-discovery. Walsh openly talks about struggling in his childhood, feeling alone and not smart compared to others. Growing up in the 50s and 60s, when people didn’t know much about autism, made it harder for him to get a proper diagnosis.
In what was a bold move, Walsh has decided to tell the world about his diagnosis. By doing this, he’s shining a light on the challenges of growing up with autism. When speaking to big audiences, he becomes a supporter of awareness, using his platform to help people understand the unique journey of those with autism. To Walsh, society needs to understand neurodiversity better and also create a sense of connection and support for others going through similar challenges.
Gary Numan
Gary Numan, famous for his song “Cars,” changed music in the ’80s with cool electronic sounds. He uniquely used synthesizers and made a remarkable impact on the metal music of that era. Numan thinks he might be on the autism spectrum having taken an online test from a US university. This is important because when he was a kid, finding out about autism wasn’t easy. He talks openly about struggling in social situations and about how meeting new people makes him uneasy.
One-on-one interviews are fine, but small talk is hard for Gary. His honesty helps us understand autism better. It shows how people on the spectrum deal with social stuff in their own way. Numan’s story is a reminder that everyone is different. It’s okay not to be great at everything. His music and openness inspire others, showing that being unique is a strength.
Björk
Björk, a fascinating figure in music, has always had a unique and captivating presence in her career. From her special singing style to exploring experimental music, she has grabbed people’s attention with her deep love for the arts, becoming a fascination for many. While not officially diagnosed, Björk believes she might be on the autistic spectrum, as she shared in an interview with Rolling Stone, “I think I’m probably semi-autistic or something – I’m just obsessed with riddles,” Björk says.
This personal revelation resonates with fans who see her distinctive musical style as a reflection of neurodiversity. Björk’s followers, who appreciate her unique and kind nature along with her musical talent, have found comfort and strength in her art. Many fans have shared how the singer’s unapologetic individuality has helped them accept and embrace who they are.
Pip Brown
Autism, a disorder, has mostly been studied in men, leaving women in the dark about their condition. This lack of focus is why Ladyhawke, also known as Pip Brown, only got her Asperger’s diagnosis in 2006. Though she has a mild form of the disorder, Brown says it sometimes affects her ability to perform. She convinces herself that she’s not good and everyone’s judging her. However, Brown doesn’t let it beat her.
As one of the great autistic musicians today, she’s been nominated for awards like Brit and NME, winning six New Zealand Music Awards. Pip Brown’s story highlights the importance of understanding autism in women. Her achievements in the music industry show that, despite challenges, individuals with autism can excel and be recognized for their talents.
Example
Elliot John Gleave, widely known as Example, stands as a successful British musician with numerous award nominations throughout his career. Diagnosed with Asperger’s syndrome, attention deficit hyperactivity disorder (ADHD), and obsessive-compulsive disorder (OCD) in his youth, Example discovered his preference for numbers and history over fiction books. Despite not making his disorder obvious, Example openly talks about his life with autism, notably addressing it in his track ‘Come Taste The Rainbow.’
In his music, he also shares his past struggles, revealing how he used drugs as a way to cope with his emotions. Example’s journey emphasizes the importance of raising awareness about autism and mental health. His openness helps break the stigmas surrounding these conditions. Through his music, Example not only entertains but also serves as a voice for understanding and empathy, demonstrating that everyone, regardless of their challenges, has a unique story worth sharing.
James Durbin
The name James Durbin may ring a bell, especially if you recall his notable appearance in the 10th season of American Idol, where he secured the 4th position. Durbin continues to chase his musical dreams, all the while being candid about his struggles with autism. Diagnosed at the age of 10, Durbin turned to playing the guitar as a therapeutic outlet. Music became a focal point, allowing the autistic singer to concentrate, refine his skills, and channel his passion.
Durbin views being on the autism spectrum not as a disability but as an “extra sprinkle of genius.” For two years, Durbin served as the lead singer of Quiet Riot, a heavy metal band, showcasing his versatility. Importantly, he remains actively involved in the music scene, consistently releasing new albums. Despite being “born different,” Durbin says he’s actually now grateful for the condition because it gives him a chance to help others who might also have disabilities, and he aims to be a role model to them.
To mark last year’s rereleased and remixed edition of their defining album Foundations Of Burden, Pallbearer have confirmed another round of North American tour dates dedicated to the record. Working alongside Ground Control Touring, the band will take the album on the road once again, performing it in full across the Northeast, Midwest, and additional regions. Select shows will feature support from Knoll, with full routing and venue details available now. Tickets are scheduled to go on sale this Friday, January 23, at 10 a.m. local time.
The band shared their enthusiasm for revisiting the material, stating: “It’s no secret that we’re passionate about Foundations Of Burden. Revisiting the record last year was so invigorating for us, and presenting it live in its entirety on stage has been a blast. We hold it as a special landmark in our history. We are so pleased to announce more of these performances in 2026, including a reprise of appearances alongside the funereal chaos apparitions in Knoll who joined us last December.”
These newly announced dates continue the momentum surrounding Foundations Of Burden (2025 Redux), a carefully reworked and remixed version of Pallbearer’s landmark 2014 release. The updated edition offers a refreshed perspective on an album that has long been considered a cornerstone of the band’s catalog, while the upcoming live shows give fans another chance to experience the record as a complete, immersive performance.
Pallbearer 2026 “Foundations Of Burden” Tour Dates:
Feb. 19 – Oklahoma City, OK – Resonant Head Feb. 20 – Tulsa, OK – Vanguard Feb. 21 – Springfield, MO – Regency Live Feb. 22 – Fayetteville, AR – George’s Majestic Lounge Mar. 05 – St. Louis, MO – Off Broadway Mar. 06 – Columbia, MO – Rose Music Hall Mar. 07 – Kansas City MO – recordBar Mar. 27 – Little Rock, AR – White Water Tavern Apr. 08 – Louisville, KY – Zanzabar Apr. 10 – Cleveland, OH – Grog Shop Apr. 11 – Buffalo, NY – Rec Room Apr. 12 – Brattleboro, VT – Stone Church Apr. 14 – Portland, ME – Oxbow Apr. 15 – Portsmouth, NH – Press Room Apr. 17 – Braintree, MA – Hopsmokerfest at Widowmaker Brewing Apr. 18 – Brooklyn, NY – Elsewhere Apr. 19 – Baltimore, MD – Ottobar Apr. 20 – Philadelphia, PA – Underground Arts Apr. 21 – Norfolk, VA – The Annex Apr. 22 – Raleigh, NC – Kings Apr. 23 – Knoxville, TX – The Pilot Light
Finnish melodic death metal veterans Omnium Gatherum are closing out the final dates of their Finnish tour this weekend with shows in Jyväskylä and Helsinki, but the band is already turning attention toward what’s next. As momentum builds for their upcoming spring live run, the group has unveiled an unexpected new single titled “Moongold.” The track was recorded during the sessions for May The Bridges We Burn Light The Way, the album released late last year that drew strong praise from metal media worldwide.
Vocalist Jukka Pelkonen explains how the song fits into that creative period, saying: “‘Moongold’ follows the overall style of the album. It’s fast and packed with energy, and while the song is somewhat stripped down, its layers reveal themselves after a few spins. “Moongold” is one of my favorites from these sessions, and I truly hope it will make its way into our setlist in the future – this song was absolutely made with live the performance in mind.”
Guitarist Markus Vanhala adds more context to the track’s history: “’Moongold’ was originally released as an ‘Eastern wonder,’ meaning a Japan-exclusive around the time the album came out. However, we ultimately decided to leave it off the album itself, as it didn’t quite fit the overall flow and we wanted the record to be a short, sharp burst of aggression. That said, the song stands very strong on its own as a melodic death metal anthem and is pure OG – perhaps a slightly more old-school version. And now, here it is, served to you and to your loved one, to these moonlit afternoons.”
As Omnium Gatherum enter their 30th anniversary year, the band remains one of Finland’s most consistently touring metal exports. Their European headline tour begins on February 11, with Fallujah and In Mourning joining as special guests. This leg follows an extensive North American headline run that kicked off the world tour cycle for May The Bridges We Burn Light The Way last year.
“The calendar is full – just the way it should be, and there’s more to come. It suits a band whose core is that of an honest, sweaty live act,” Vanhala says with a smile.
Formed in 1996 in the coastal town of Karhula, Omnium Gatherum have long operated at the intersection of traditional heavy metal, Gothenburg-inspired melodic death metal, and progressive elements. Over the years, this blend has earned them the tongue-in-cheek description of Adult-Oriented Death Metal.
On May The Bridges We Burn Light The Way, founding guitarist and primary songwriter Markus Vanhala—also known for his work with Insomnium and Cemetery Skyline—aimed to showcase the full range of the band’s sound. The album balances memorable hooks with sharp guitar work, heavy rhythms, layered keyboards, and vocals that move fluidly between harsh aggression and melody.
Lyrically, May The Bridges We Burn Light The Way unfolds as a loose concept record built around “stories from the streets,” told through the eyes of dreamers, fiends, liars, and wanderers. Tracks such as “Walking Ghost Phase” explore addiction and despair, while “Ignite the Flame” leans into themes of brotherhood and resistance. In “The Darkest City”, the city itself becomes a narrator, reflecting the tension and disorder of modern life.
“There’s a 90s spirit in these lyrics as well,” says Vanhala. “Even if they’re not autobiographical, they echo where we came from – street corners, blasting metal and dreaming big.”
The album was recorded across several Finnish studios, including former industrial spaces that brought a distinct atmosphere to the sessions. Jukka Pelkonen tracked his vocals in Sweden alongside Björn ‘Speed’ Strid of Soilwork, who co-produced the vocal recordings and contributed gang shouts. For those interested in the technical details, the vocals were captured using the legendary SSL console previously used on Queen’sInnuendo. Mixing and mastering duties once again went to Jens Bogren and Tony Lindgren at Sweden’s Fascination Street Studios. Clocking in at under 45 minutes, the album delivers a focused listen built for impact, with no excess and no wasted space.
Swedish progressive metal veterans Opeth have released a new performance video for “§7,” one of the standout tracks from their latest album, The Last Will And Testament. The clip presents the band in a direct, no-frills setting that puts the focus squarely on musicianship, atmosphere, and the emotional pull of the song itself.
The video captures Opeth in a focused and commanding state, emphasizing tight interplay and the darker tone that has come to define this era of the band. Without visual distractions, the performance leans into precision and mood, allowing the intensity of the track to carry the experience.
The timing of the release is deliberate, arriving just weeks before Opeth begin their U.S. tour. The run will showcase material from The Last Will And Testament while also making room for longtime fan favorites pulled from across the band’s extensive catalog.
Frontman Mikael Åkerfeldt shared his thoughts on the song’s challenges in a live environment, saying: “That track was scary to play live at first. Most of our songs are challenging, I suppose, and this one is no exception. I believe we all love playing this one. There are a myriad of details that could go wrong though, but it’s fun. It keeps you on your toes. And of course, then there’s IanAnderson‘s narrations, which is the only thing in our set that isn’t ‘live’. Since we don’t play to a click track, it’s dragging or pushing depending on the tempo of the evening. Again, it’s fun and I love the unforeseeable character of this song in a live setting. That’s a bit odd since I normally want to feel completely secure and really know what I’m doing. I generally don’t like surprises on stage.”
Within the album’s larger storyline, “§7” plays a central role. The Last Will And Testament has been widely noted for its cinematic structure and willingness to move between contrasting moods. By reducing the presentation to its core elements, the new video highlights how Opeth balance technical detail with emotional impact, a dynamic that has long been central to Åkerfeldt’s songwriting approach.
After wrapping up their U.S. dates, Opeth are also scheduled to perform select shows across Europe later in the year, continuing to support the album on an international scale.
Listeners are encouraged to revisit The Last Will And Testament as a complete work, with “§7” serving as one chapter in a larger arc. From its unsettling opening passages to its more forceful closing moments, the album is designed to reward careful, start-to-finish listening.
The performance video for “§7” is available now, and The Last Will And Testament can be streamed across major platforms. Fans can also catch Opeth live on tour, with tickets currently available here.
Opeth 2026 North American Tour Dates:
Feb. 05 – US Montclair, The Wellmont Theater Feb. 06 – US Boston, Orpheum Theater Feb. 07 – US Philadelphia, The Filmore Philadelphia Feb. 10 – US Detroit, Masonic Temple Theater Feb. 11 – US Chicago, Riviera Theater Feb. 12 – US St. Louis, The Pageant Feb. 14 – US Dallas, The Bomb Factory Feb. 15 – US Houston, Bayou Music Center Feb. 16 – US San Antonio, Majestic Theater Feb. 18 – US Colorado Springs, Pikes Peak Center Feb. 20 – US Las Vegas, Pearl Concert Theater At Palms Feb. 21 – US Riverside, Riverside Municipal Auditorium Feb. 22 – US Sacramento, Channel 24 Feb. 24 – US Seattle, Paramount Theater Feb. 25 – CA Vancouver, Doug Mitchell Thunderbird Sports Centre
Greek symphonic extreme metallers W.E.B. will unveil Darkness Alive, their first ever live album, on February 20th via Metal Blade Records!
Captured in the quartet’s hometown of Athens on September 22nd, 2024, Darkness Alive truly displays the band at the top of their game. Standout tracks include “Into Hell Fire We Burn,” which vocalist/guitarist Sakis Prekas describes as a, “thunderous marriage of black and heavy metal with a chorus that literally orders you to sing along,” “Dark Web,” an intense melodic death and modern metal onslaught, and today’s single, “Dragona” from the band’s critically lauded 2017 Tartarus, full-length.
“Dragona” serves as a blasting black metal masterwork with an epic finale that will forever be a staple in W.E.B.‘s live set. Lyrically, the track praises an ancient God with a funeral exodus and is considered by fans and critics alike among W.E.B.‘s most revered tracks.
Watch W.E.B.‘s live performance video of “Dragona” HERE.
Watch the band’s previously released video for “Dark Web” HERE.
Darkness Alive will be released digitally. Find pre-orders at: metalblade.com/web
Darkness Alive Track Listing:
01. Crimson Dawn (Live)
02. Pentalpha (Live)
03. Dark Web (Live)
04. Into Hell Fire We Burn (Live)
05. Murder Of Crows (Live)
06. Necrology (Live)
07. Morphine for Saints (Live)
08. Dragona (Live)
09. Eligos (Live)
W.E.B. is currently composing material for their next full-length album that will see them hitting the road once again. “It is by far the best material we;ve ever had on a record. I intend to keep the promise to myself regarding W.E.B. that all new material must be better material, otherwise there is no reason to release it,” Prekas concludes. “Stay Dark.“
As the February 6 release date approaches for Puscifer’s fifth studio album, Normal Isn’t, the band is giving fans another reason to visit their local record shops. Select independent retailers will host advance screenings of the new concert film Normal Isn’t: Puscifer Live At The Pacific Stock Exchange, turning album week into a shared, in-person experience.
Maynard James Keenan underscored the importance of those spaces, saying: “Brick and mortar vinyl shops are the lifeblood of independent bands. There is a symbiotic relationship that was almost obliterated by the age of digital downloads and streaming. Thankfully we survived by working together.”
Screenings of Normal Isn’t: Puscifer Live At The Pacific Stock Exchange will take place between February 6 and February 8, with participating retailers handling their own schedules and details. Fans who can’t attend in person will still be able to purchase the concert film online beginning February 9 at noon Pacific, or 3 p.m. Eastern here.
Shot inside Los Angeles’s original stock exchange, an art deco building long rumored to be one of the city’s most haunted locations, the film captures a pivotal moment for Puscifer. It documents the first live performance of Normal Isn’t and introduces a completely reimagined stage production, complete with new costumes and a light show driven by bold graphics. As songs such as “Self Evident,” “Pendulum,” and “Bad Wolf” echo through the granite-lined hall, Maynard James Keenan, Carina Round, Mat Mitchell, Gunnar Olsen, and Josh Moreau deliver a tightly focused, high-energy performance that translates the album’s mood to the stage.
The release of Normal Isn’t coincides with the concert film’s debut and includes the recent singles “Self Evident,” “Pendulum,” and “ImpetuoUs.” Beyond music, Puscifer has also expanded into comics, recently launching Tales From The Pusciverse issue No. 1, which quickly sold out. A second printing is scheduled to arrive on January 25, extending the band’s growing universe into another medium.
