Def Leppard have released a new single, “Rejoice,” arriving just ahead of the band’s return to Las Vegas for Def Leppard: Live at Caesars Palace The Las Vegas Residency, which kicks off February 3. The track is out now via UMe on streaming platforms, and it’s being positioned as part of the build-up to a new run of shows at The Colosseum at Caesars Palace.

The band says the song started with a lyrical idea and quickly found the right musical match. Singer Joe Elliott described how the initial concept came together when he brought it to guitarist Phil Collen.

“This song’s been an amazing journey from concept to conclusion. I said to Phil [Collen, Def Leppard guitarist] 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 that? And he said, ‘As it happens, yes I do.’”

From Collen’s side, he had the core riff sitting around, and the timing lined up. He built the track’s foundation with a loop designed to push a more primal, percussive feel, then sent it over for Elliott to write on top of.

“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 on 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.”

The timing makes sense: “Rejoice” is set to get its live moment in Vegas, where fans can expect the new track alongside staples from Def Leppard’s catalog. Def Leppard: Live at Caesars Palace The Las Vegas Residency runs through February 28, 2026, and follows the band’s previous sold-out Vegas residency runs in 2013 and 2019.

The post DEF LEPPARD Share Lyric Video For New Single “Rejoice”, 2026 Las Vegas Residency Starting In February appeared first on Sonic Perspectives.

Today we have the prodigious honor of premiering a work by one of our favorite projects: deathened black metal outfit Ashenheart.

“Stars Wept to the Sea” is a standalone track, with proceeds to be donated to the American Cancer Association. This song is deeply personal for founder Amanda Kauffman–written after the death of her wife–and the music matches the emotional weight of the subject matter. After opening with tender guitars and layers of synth, the track drives forward with meaty riff after meaty riff, tormented vocals above. There’s a bit of everything as things progress: haunting layered cleans contrast again vicious screams, a chunky bass feature and unison guitar/bass riffing, dissonant lines that twist over continuously churning textures, and spiraling leadwork that captivates. Eventually it closes with a piano outro and heartfelt spoken word.

This is also the first ever song to boast the new, fuller Ashenheart lineup, as bassist Tyler Blake (Fathomless) joins Kauffman, Steve Wiener (Am I in Trouble?, Negative Bliss, Eveale), and Alex Loach (Eveale). Also, contributing the aforementioned leads is the always impressive Alicia Cordisco (Transgressive, ex-Judicator, ex-Project: Roenwolfe), whose talents are as eminently on display as ever. It’s fantastic to hear these five operating as one unit, and “Stars Wept to the Sea” is a touching tribute to a late loved one. Check it out in the player below and make sure to visit the Ashenheart Bandcamp and Ampwall pages; “Stars Wept to the Sea” releases officially next Monday, January 26.

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The post Track Premiere: Ashenheart – “Stars Wept to the Sea” appeared first on Noob Heavy.

Sodom’s, 1994 album Get What You Deserve didn’t stick to any of the rules of the era.

“We just wanted to sound completely nuts — full-on, in-your-face madness – it was pure Sodom just not giving a damn. Especially not about what anyone else was doing. We wanted to do what felt right to us — raw, grimy, unpolished. Songs that would make other people cringe — that’s what we were after.”

The new single “Jabba the Hutt” is one such track, and it may appear that it‘s named after a Star Wars character — but it’s actually about a real person. When asked about it, Tom Angelripper and Andy Brings respond in unison: “We won’t comment on that.”

The accompanying video is cut from archive camcorder footage of the infamous photoshoots for both the grotesque album cover of Get What You Deserve and its preceding EP, Aber Bitte Mit Sahne, and provides a snapshot into the warped minds of Sodom in 1994.

Thirty-two years later, this snarling beast is being unleashed on the metal community once again. A timeless punch to the gut — or, as Maik Weichert, guitarist and mastermind of German metalcore heroes Heaven Shall Burn, puts it: “The best punk album of the nineties!”

Get What You Deserve will be released as an extensive box set, remastered and newly mixed by Andy Brings, including the remastered and remixed Aber Bitte Mit Sahne EP, plus the first concert with Atomic Steif as a bonus double LP and a DVD with additional live shows.

Alongside the original hotel room cover, the package also includes the censored version with the band photo and the originally planned artwork featuring a Knarrenheinz painting by cult artist Andreas Marschall.

Get What You Deserve will be released on February 27, 2026, via BMG and is available for pre-order now.

The post SODOM Share Music Video For “Jabba The Hutt” From Upcoming Expanded Edition Of 1994 Album “Get What You Deserve” appeared first on Sonic Perspectives.

Architects announces 2026 U.S. tour with Holywatr, drops ‘Broken Mirror’ music video was originally published on HM Magazine by Nao Glover.

Chart-topping, British metalcore icons Architects are set to return to the U.S. in 2026, announcing a short North American headline tour kicking off in Reno, NV on April 28, with support from Holywatr, and making stops at Welcome To Rockville and Sonic Temple festivals. Artist presale tickets are available today at 2 PM local time, followed by additional presales throughout the week. General […]

Architects announces 2026 U.S. tour with Holywatr, drops ‘Broken Mirror’ music video was originally published on HM Magazine by Nao Glover.

(January 21, 2026) – Explosive hard rock band DOGMA return to the States this Spring on the Time to Rise Pt. 1. U.S. Tour 2026 with special guests Frayle.  Kicking off on March 15 in Seattle, WA, and wrapping on April 3 in Philadelphia, this leg of the tour will see the group perform on key dates in New York City, Washington, D.C., San Diego, Dallas, and more.  Full dates are below.  

Frontperson Lilith says, “Last October and November, during our last U.S tour dates, we carried a message that was still taking shape. Some paths were broken before they could be completed, and certain cities were left waiting. That tension did not fade. It stayed with us, sharpened us, and demanded a proper return.”

She continues, “Time to Rise Part I U.S. Tour 2026 emerges from that demand. What comes next carries intention, consequence, and elements that will not announce themselves in advance. There will be moments you are not prepared for, choices you didn’t plan to make, impulses you didn’t expect to feel, and yet, you will feel them. Anaheim and Reno are part of that reckoning. To the sinners who remained present despite uncertainty: this chapter is written with you in mind. What rises now does so with purpose, weight, memory… and temptations that will test how far you’re willing to go.”

Time to Rise Pt. 1 U.S. Tour 2026 dates (with special guests Frayle):

March 15 – Seattle, WA – Substation
March 17 – San Francisco, CA  – The Independent
March 18 – Los Angeles, CA  – 1720
March 19 – Reno, NV – The Alpine
March 20 – Anaheim, CA – House of Blues
March 21 – San Diego, CA – House of Blues
March 24 – San Antonio, TX – Vibes Studio
March 25 – Dallas, TX – Trees
March 27 – Madison, WI – The Annex at The Red Zone
March 28 – Joliet, IL – The Forge
March 29 – Chesterfield, MI – Diesel Concert Lounge
March 31 – New York, NY – The Gramercy Theater
April 1 – Washington, DC – Black Cat
April 2 – Bethlehem, PA – Fowler Blast Furnace Room
April 3 – Philadelphia, PA – Kung Fu Necktie

Dogma is offering a limited-edition presale bundle with ticket purchase, including an exclusive design of the “spitting nun” T-shirt. For more information, visit HERE.  Fans can also sign up HERE for a pre-show Meet & Greet, which includes surprise sweepstakes and a band photo.  

The post Provocative All-Female Hard Rock Group DOGMA Return to the U.S. this Spring on the Time To Rise PT. 1 U.S. TOUR 2026  appeared first on Go Venue Magazine.

Written by Kep

Way back in 2022 (which I swear feels like a decade ago already) I contributed a short writeup on Malignant Aura’s debut LP Abysmal Misfortune is Draped Upon Me to one of our monthly roundup articles. Among the words I said were these: “These are tracks you will get lost in, that you’ll wallow forlornly in, tracks that burn like fire and then bury the ashes beneath six feet of cold dirt.” It was a record that felt both shorter and longer than its 54 minutes in that it was easy to close your eyes and sink into the melancholy of it all, drifting through shadows and graveyards before being jolted from dark revery by furious charges of anger, unseen clouds pouring rain out of thunder-cracked skies. My expectations for this new LP were, accordingly, high.

As it turns out, Where All of Worth Comes to Wither is a more distilled, more violent experience than its predecessor. It stretches across 45 minutes in only five tracks, one of which functions as an intro, and in that more concise runtime it manages to delve deeper into both ends of the death/doom spectrum. It’s an album of sanity’s frayed edges, of trying and failing to balance grief and rage inside a single tormented vessel. Miserable pits of sorrow, uncontrollable frenzies of sheer violence. Where All of Worth Comes to Wither plumbs the depths of the human soul, the suffering of the psyche, and the ugliness within mankind, then paints all of it into one monstrous canvas of disparate yet indisputably related elements.   

You’ll notice not long after the gongs(!) crash to open the first minute of the instrumental title track that GODDAMN is the guitar tone wicked on this record. It’s caustically sharp, the sort of burning, almost buzzing sawtooth sound that almost hurts to take in. A quick peek behind the credits curtain shows producer extraordinaire and Damn Good at Recording Loud Sounds Guy Brendan Auld at the board for his fellow Aussies, plus Arthur Rizk as masterer, and that makes sense: two guys who understand the best ways to get heavyweight-class old school sound with the best of modern means. The guitars should be and are the stars here, intertwining gloomily, meandering together, lulling you to an accepting sort of despondency as they rise and fall. Then comes the sudden arrival of “The Pathetic Festival”, shattering the doors to splinters and seizing you by the hair, forcing a torrent of hateful death down your throat. 

This transition is the Where All Worth Comes to Wither experience in its most essential form: dirging, funereal sorrow, overcome with overwhelming whirlwinds of rage and pain, eventually sinking back into despair. Deep, gripping tremolos from the guitars offset by jabbing staccato licks launch “The Pathetic Festival”, which is the tightest of the album’s non-intro tracks at seven minutes. At times it’s almost martial, then it’s crushing, angular doom, then it’s revisiting the opening blast of battering death. Across it all are the tormented, gutty vocals of Tim Smith, whose performance here is grotesque, horrendous stuff (complimentary). Spewing, choking, howling, growls full of phlegm and bile, stentorian pseudo-spoken word: it’s spectacular stuff.

This record is simply stuffed to the gills with tremendous moments. There’s a goddamn RIFF and a half at :49 in “Languishing in the Perpetual Mire” that hits a syncopated groove and churns in a deeply satisfying way, and a brutish swinging compound meter crusher around the four-minute mark. The ending stretch of “Beneath a Crowd of Anguish” feels like a slow descent into the hell of madness, an incisive dropping riff compelled first by incessant blasts before it slows and expands, gaining what feels like tons of weight as it grinds down. The production supports across the board, and sometimes it makes the moment: for example, the dry snare’s popping tone is dominant in passages of merciless blasts in a way that makes those moments feel more frenzied and desperate. 

My favorite parts of the record are unaccompanied sections of twin guitars, burning and weaving in and out of one another slowly in a way that’s clearly informed by Mournful Congregation’s early works (and with tasty old school tone to boot). A passage like this leads us to the ending stretch of the “Languishing in the Perpetual Mire”, establishing a beautiful sorrow-drenched motif which the rhythm section rejoins, providing a palette for desperate solos and somber spoken word that close the track. Another of these intertwining guitar passages actually begins the song, and yet another signals the beginning of the end as enormous closer “An Abhorrent Path to Providence” enters its final quarter; emerging from beneath a particularly tortured vocal passage, the guitars feel like the grave dirge leading us home, taking us into eternity. 

THE BOTTOM LINE

The follow-up to a great album in Abysmal Fortune is Draped Upon Me, Where All of Worth Comes to Wither is like a more concentrated, more punchy version of a proven formula. Malignant Aura’s willingness to push even further into both the funereal and death metal edges of their sound, and their ability to write captivating songs that deftly incorporate those elements, make this sophomore effort a particularly excellent one.

The post Album Review: Malignant Aura – “Where All of Worth Comes to Wither” (Death/Doom) appeared first on Noob Heavy.

The Press Release: In 1976, Jack Kirby introduced an all-new mythology to the Marvel Universe–one as imaginative and grand as the “King of Comics” himself—THE ETERNALS! This April, join Marvel … Continue reading Marvel Announces “Eternals 50th Anniversary” Special for April →

Good Day Noir Family,
A cold pulse introduces Laugh at the Tragedy, and it arrives with confidence. The opening track, “Polarity, establishes right away James Laurent’s futuristic direction.

Laugh at the Tragedy is James Laurent’s Album Out Now

 Electronic grooves rub against the skin, while neon-tinted textures pull the listener into a dystopian frame of mind. At the same time, the beat invites movement. It scratches and seduces, creating a space where tension and release coexist.

Next, “On My Altar” shifts the mood without breaking continuity. A light guitar riff sets the scene and then the track soon mutates. Funk-inflected rhythms appear, and the song leans toward the dancefloor. Still, darkness lingers. The club atmosphere feels shadowy, almost ritualistic. The track wraps around you, urging motion while keeping a sense of unease.

“Anesthesia” follows with a more fragile entry. It flickers like a candle flame, unstable and intimate. Here, Laurent places his voice front and center. The delivery feels intense and exposed. Meanwhile, the dynamics change often, which keeps the track alive and unpredictable. This willingness to experiment defines the album’s identity and reinforces its forward-looking vision.

One of the standout moments arrives with “Crashout.” The atmosphere turns nocturnal, and the vocal treatment becomes slightly megaphonic. The song feels as if it’s transmitted from a parallel dimension. The push of the rhythm is steady, yet the mood remains reflective. You are left suspended, observing a plastic, night-colored universe that slowly closes in around you.

The closing track, “Dancing with the Devil,” brings introspection to the surface. The title alone sets expectations, and the song delivers. It feels like one of those late nights spent confronting personal shadows. The keyboard line circles relentlessly, echoing like distracting voices in the mind. Instead of resolving the tension, the track lets it linger, which suits the album’s emotional arc.

Overall, James Laurent’s music recalls a darker interpretation of Twenty One Pilots and Empire of the Sun, filtered through a more alternative lens. The album never feels derivative. Laugh at the Tragedy stands as a cohesive and immersive body of work, driven by atmosphere, rhythm, and a clear artistic focus.

Laugh at the Tragedy is James Laurent’s Album Out Now!

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Intense!

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James Laurent is an alternative artist blending pop-punk energy with cinematic emotion. Ecuadorian by heritage, Milwaukee-born and LA-based, he creates his music entirely solo—writing, recording, mixing, and mastering every release.

His track “Fake Love” earned Apple Music Editorial placement on New in Rock, leading into his December 2025 debut album Degen Z. An RIAA Gold-certified artist and experienced engineer, Laurent combines technical precision with raw emotional impact.

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Find James Laurent Here:

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The post Laugh at the Tragedy is James Laurent’s Album Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Good Day Noir Family,
An uneasy calm opens the door to “This Will Be The End Of Everything,” and it is clear that Absinthe Vows are not offering comfort.

This Will Be The End Of Everything is Absinthe Vows’ Single Out Now

Futuristic pads rise with a cold glow. Then the voice enters. It carries a raw punk edge, yet it never abandons melody. The tension appears immediately, and the track begins to pull in different directions at once.

Soon after, the rhythm section locks in. The drums sound precise and exposed, and the snare hits with an almost industrial sharpness. The cyber-punk character of the track becomes fully visible. This is not chaos for its own sake. The beat pushes forward, yet it leaves space for the atmosphere to breathe.

When the guitars arrive, the song expands suddenly. Distortion cuts through the mix like metal edges, and the track takes on a sharper physical presence. It never collapses into noise. Instead, the structure remains disciplined, even when the energy spikes. This balance gives the song a restless but controlled momentum.

Later, the arrangement pulls back. Around the 1:45 mark, the bass steps forward and the track seems to hollow out. At this point, the music starts to feel ritualistic. The repetition becomes hypnotic, and the groove gains weight. Although the intensity drops, the sense of purpose grows stronger.

Cinematically, the song recalls the cold precision associated with Stanley Kubrick’s films. There is distance here, but also obsession. The music seems suspended in a mirage, as if reality itself were unstable. Because of that, the central theme lands with force. Time passes, everything shifts, and nothing remains fixed. What we see, and hear, exists only for a moment.

Absinthe Vows present a vision that is bold, sharp, and deeply considered. This is a band unafraid of intensity, and one clearly driven by a strong artistic identity.

This Will Be The End Of Everything is Absinthe Vows’ Single Out Now!

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Visionary!

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This Will Be The End Of Everything is Absinthe Vows’ Single Out Now

Absinthe Vows, a band from Columbus, Ohio, was formed in 2021. Influenced by a range of artists spanning from Joy Division and T-Rex to Nirvana and Alice In Chains, they bring a unique blend of post-punk and traditional/alternative rock to the modern music scene.

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Find Absinthe Vows Here:

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The post This Will Be The End Of Everything is Absinthe Vows’ Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

 

Kenny Chesney Announces Six More Shows —
Music for New Dimensions July 1, 3, 4, 8, 10, 11
“For me, if we’re gonna do this, let’s make it count!”

Tickets to Added Dates On Sale Friday, Jan. 30 at 10 a.m. PT via KennyChesney.com

 

When Kenny Chesney decides to do something – whether it’s Heart Life Music, his No. 1 New York Times best-seller, which he called “a love letter to the journey,” or taking No Shoes Nation into a whole new dimension with his groundbreaking Sphere residency – he truly commits to the process, the music, the experience, and especially the fans. Having realized all the opportunities Sphere’s production capabilities offer to deepen how people experience these songs that have defined their lives, he doubled down on playing Sphere in 2026.

“Beyond how different it was, there was all the fun,” offers the 2025 Country Music Hall of Fame inductee. “Seeing all the faces, plus all the crazy things we could do with the sound and visuals, I knew well before we finished, we were coming back and taking all of it even further. With all the work that’s going into changing up over half the show, adding more songs we might not be able to play in stadiums, pulling some surprises, five shows weren’t going to be enough…

“When we were able to make the 4th of July weekend a flyaway, come stay, see Guitars, Tiki Bars and let’s share a whole lotta love, I was very much, ‘Let’s do it.’ So, we did. Like we flashed on the screen at our final show when it said, ‘See you next summer’ – we’re setting up for summer vacation, only the sand isn’t a beach, and you don’t have to drive anywhere!”

For the only country artist on Pollstar’s Top 10 Touring Acts of the 21^st Century – landing between Bruce Springsteen & the E Street Band and Metallica – creating the ultimate concert experience requires a lot of commitment. Taking Sphere even further means the five previously announced June shows and these six dates will be Chesney’s only headlining concerts this summer.

Calling last year’s residency “a sonic and visual rollercoaster,” USA Today headlined their review “Kenny Chesney delivers a vibrant, visually arresting feast.” While it’s a high bar to cross, it’s everything the songwriter/superstar from East Tennessee lives for. Not only is he thinking about how to make it even more, Chesney’s looking to enrich the feeling of community for the millions of people who’ve lived, loved and built their best times inside his songs.

“This isn’t something you can do every year,” explains Billboard’s No. 1 Country Artist of the 21^st Century. “But to be able to put two years together, to take what you know and double down on something so unique? It’s an opportunity for us, No Shoes Nation and even people who just love Sphere shows to experience the joy in a completely different way.”

Beyond Chesney’s high energy shows, this year’s Sphere concerts will include several different ways to experience Kenny culture. Like last year, the free-to-all Guitars, Tiki Bars and a Whole Lotta Love experience will return – in a whole new location – to bring people inside the journey. Beyond that, there are several different packages and opportunities to enjoy; many affording additional time to hang out with fellow citizens of No Shoes Nation beyond the actual concert.

Vibee, the music-led destination experience company, is the official VIP Concert & Hotel Experience Package partner for Chesney’s shows at Sphere. All Concert & Hotel Experience Packages include a choice of ‘The Sandbar’ (floor GA) or premium reserved seating at Sphere, a collectible laminate and lanyard, access to ‘Guitars, Tiki Bars and a Whole Lotta Love – the Kenny Chesney Fan Experience’ pop-up – and a two-night stay at The Venetian Resort Las Vegas – the only resort connected to Sphere. ‘Live Like We Do’ package holders will enjoy additional VIP perks, including priority entry to Sphere, access to exclusive VIP space ‘The VERY Vibe Room’ with a dedicated merch store and special programming, priority access to ‘Guitars, Tiki Bars and a Whole Lotta Love – the Kenny Chesney Fan Experience,’ luxury motorcoach transport to and from the airport, an exclusive Kenny Chesney curated gift bag and more. For guests who do not require accommodation or airport transfer, ‘Roll Like We Do’ VIP Concert Experience Packages will also be available. For more information and access to tickets through Vibee’s packages, please visit kennychesney.vibee.com.

Kenny Chesney Live at Sphere Las Vegas
June 19, 2026
June 20, 2026
June 24, 2026
June 26, 2026
June 27, 2026
July 1, 2026
July 3, 2026
July 4, 2026
July 8, 2026
July 10, 2026
July 11, 2026

 

 

 

The post Kenny Chesney Adds SIX Sphere Shows in July appeared first on Mayhem Music Magazine.