German heavy metal titans Cruel Force are back with their fourth album, “Haneda”. It is no secret that “Dawn of the Axe“, their previous record, was a firm favourite in recent years for me. Once again, Shadow Kingdom Records releases this opus, conveniently on my birthday, 27th March.

Soaring guitars summon a potent sense of adventure with a warmth to the mix and massive, spacious drums; telling us that what is about to kick off is something special. Sure enough, lead single “Whips-A-Swinging”, which I have been playing a lot since its release, fires in on all cylinders. Crushing speed metal riffing and monstrous drums with sweeping fills lay waste to all with rabid vocals punching through the leather thanks to their powerful delivery and superb pacing. Cruel Force have cemented themselves as a timeless and classic metal band in my view, and the strength of this record’s opening moments perfectly illustrates my point. The guitars are powerful in the writing and the delivery, not to mention the sublime production. The bass adds that thick, stabbing low end, and the drums, as I mentioned before, sound huge. From the rototoms and reversed snare hits to the majestic soloing, these maniacs ride in on a storm of killer riffs but with the embellishments to elevate their music to something classic and defining. With all of the meanness of German speed metal pioneers, the atmosphere of classic USPM, and the monolithic overall execution of timeless rock bands like Rainbow, Scorpions, and Dio; Cruel Force embodies everything that one should as a heavy metal band. This extends to their artwork, recording methods, live shows, logos, photos, the works.

There is notably more emphasis on the storytelling side of this record without feeling like some pretentious affair. The vocals and lyrics are delivered with a menacing snarl and hold a commanding presence backed up by the artillery of truly magnificent instrumental work. Cruel Force are an unbreakable unit; those who have seen them live can attest to that. I adore the ancient imagery and theme on this record, which feels like “Powerslave” on amphetamines topped up by some Uli Jon Roth guitar wizardry and Iron Angel-esque battery. Whilst harnessing the classic and essential elements of the genre’s finest moments, Cruel Force are not afraid to increase the bombastic, cinematic, and adventurous elements of their music, which have bloomed into an unwieldy force of total domination.

Effortlessly going from the magnificence of early Manowar into pure high-speed venomous carnage, these four fellas cannot be held back since they were unleashed. Slaughter’s guitar work, especially in the solos, feels more inspired than ever, and the drumming, bass, and vocals of GG Alex, Spider, and Carnivore are no less ferocious. It feels like lightning has been captured by the spears of the gods and flows with an electrifying current into the heart of some archaic temple to reanimate the ancient ways— both thematically and musically. The blistering work on “Sword of Iron” or the more melodically ambitious “Warlords” (seriously, how much more ripping can a song get?) can be compared as a testament to Cruel Force’s ever-growing abilities to craft interesting and exciting songs.

Today (the 5th of February 2026) marks 16 years since the band’s ravenous debut album “The Rise of Satanic Might” was released, a firm favourite in the black thrash genre and a scathing first effort. No matter how much I love that record though, I feel the rebirth of the band with their third album “Dawn of the Axe” was their entrance into a whole new league and “Haneda” continues to live up to this insane level of quality. I can say with total conviction that I will be blasting this record for many years to come and talking about it in the same breath as legends from 40 years prior. It just cannot be denied this has that timeless, grandiose quality and furthermore all of the elements sonically, visually and lyrically sit in perfect harmony.

As much as I don’t like to get into the “objective” diatribes of some self-appointed critic; I couldn’t find something to tear apart even if I wanted to. The music feels authentic on a songwriting and production level and all of the elements within this record complement each other beautifully. To back this up, the band’s conviction in what they do is unbreakable. I’ve met them a handful of times and seen them live, I have no doubts they are the real article. Nothing but total passion, dedication and adoration for heavy metal, playing your instrument and creatively pursuing the creation of a wonderful record could yield these results. No nepotism, industry or financial backing could conjure as convincing an effort as this one. Perfidious bands infect the scene with their “old-school revivalist” cosplay, which is absurd because metal never went anywhere. Instead it grew in strength in the underground for albums such as this to smite posers off the face of the earth with total power.

The savage gods have been invoked once more. Cruel Force follow their career-defining “Dawn of the Axe” with a masterpiece of just as much potency and skill. Ever since the titan’s reawakening after their hiatus, this band has been putting the power back into metal and showing no remorse or mercy to those who have forgotten the true metallic ways. When real die-hard maniacs passionately and creatively unleash records like this, it shows the genre is as strong as it ever was, especially in the underground. “Haneda” is a record like few others in this day and age. A heavy metal album of many facets, directions and sounds that work in unison to deliver an unforgettable strike! One that can definitely become a classic to many people who value the traditions of ancient metal magick. 

For further reading, check out my Cruel Force interview’s part one here and part two here!

Good Day Noir Family,
Listening to Will Camos and his single What a Ride! is like rolling the windows down and letting a wide American highway do the talking.

What a Ride! is Will Camos’ Single Out Now

The song opens with a bright, guitar-driven energy rooted in country rock.

That opening riff carries hints of ZZ Top and sun-burned landscapes, and it sets a sense of movement. Right away, the track suggests freedom, distance, and momentum.

Soon after, the rhythm locks in with confidence. The tempo feels steady yet restless, which keeps the song pushing forward. At the same time, the production stays clean and open, giving each instrument room to breathe. Because of that clarity, the guitar lines feel sharp and present without becoming aggressive. Moreover, the groove invites you to imagine long drives, roadside stops, and moments of reflection between destinations.

Will Camos’ vocal delivery plays a central role. His voice does not try to overpower the arrangement. It guides the listener through the story with a direct and honest tone. The lyrics remain easy to follow and emotionally grounded. He sings with the kind of simplicity that feels intentional, and that choice allows the narrative to shine. Additionally, the phrasing reinforces the feeling of lived experience rather than fiction.

The structure reveals smart dynamic choices. Verses stay lean, while the chorus opens up just enough to lift the mood without losing momentum. Furthermore, the chord progression supports the feeling of motion, never settling too long in one place. This balance keeps the track engaging from start to finish. Even so, nothing feels rushed or forced.

The rhythm section provides a solid backbone that keeps everything grounded. Together, these elements create a song that feels accessible but thoughtfully arranged.

What a Ride! works because it understands its own identity. It celebrates travel, freedom, and personal stories without unnecessary complexity. In doing so, Will Camos delivers a track that feels genuine and easy to connect with. It is the kind of song that fits both a road trip playlist and a quiet moment of reflection.

What a Ride! is Will Camos’ Single Out Now!

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Freewheeling!

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The post What a Ride! is Will Camos’ Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Metallica have shared an update for collectors and hard rock fans with a new release tied to their recent era. The band announced a fresh Funko POP! Rocks figure set themed around 72 Seasons, continuing their ongoing partnership with the popular vinyl figure company.

In an official message, Metallica said: “In the fifth Metallica x Funko collaboration, we’re celebrating 72 Seasons! Get your hands on the complete set, including James Hetfield, Lars Ulrich, Kirk Hammett & Robert Trujillo as stylized POP! vinyl figures from Funko. Each figure stands approximately 3.8″ (9.7 cm) tall and comes in a window display box.”

The full set is available now through the band’s official shop.

Metallica also noted that more stock is expected soon, adding: “And we have more on the way! If we sell out before they arrive, the product will be available as a preorder again, which we expect to fulfill within the month.”

For fans who collect band merchandise or want something tied directly to the 72 Seasons cycle, this latest drop adds another piece to the growing lineup of Metallica x Funko releases.

The post FUNKO Releases New METALLICA POP! Rocks Figures Inspired By “72 Seasons” appeared first on Sonic Perspectives.

Somebody Tried To Sell Me A Bridge, Van Morrison’s 48th studio album, sees the Northern Irish singer, instrumentalist, songwriter, and icon scaling across blues standards, backed by players well up to the task. Leading off the 20 selections here is two upbeat movers from Eddie “Cleanhead” Vinson, “Kidney Stew Blues” and “King for a Day Blues,” the former features popping horn bleats, the ladder slip sliding electric guitar and light piano tickling. And both showcase Morrison’s voice as expressive as ever.

Elvin Bishop guests on a raucous “Deep Blue Sea” and “Ain’t That a Shame” gets a work out next. It’s slowed down with female gospel singers, a crying guitar lead and Morrison delivering what might be his best vocal on the album. This odd ballad version of the Fats Domino classic might just be the gem of this whole collection. Taj Mahal guests all over Somebody Tried To Sell Me A Bridge, but I feel it’s his banjo, vocals and harmonica that best alight the flicky fun of Leadbelly’s “On A Monday.”

Along with Taj Mahal and Elvin Bishop, the musicians here include Morrison’s long-time musical collaborator John Allair, plus others he has played with for years like David Hayes, Bobby Ruggerio, “Friends Along The Way” associate Mitch Woods, Anthony Paule and the Anthony Paule Soul Orchestra, and the renowned Larry Vann on drums. And what a grouping it is!

Buddy Guy, present throughout, is truly featured on the last two tunes — Willie Dixon’s “I’m Ready” and “Rock Me Baby”. On “I’m Ready,” he and Van trade off vocals, in a barrage of singing that sounds like the men are having more fun than anybody should be allowed! On the B.B. King classic that ends the album, Guy talks a vocal a bit, but he is mostly playing smoking electric guitar lead. He’s another 80-something that can still deliver. Somebody Tried To Sell Me A Bridge proves that some musicians don’t really see a lessening of their talents and still have something to say. Let’s hope Van Morrison continues to say whatever he needs to for a long time to come.

~ Ralph Greco, Jr.

Purchase Somebody Tried To Sell Me A Bridge

A new streaming option built specifically for the metal and hard rock world is now officially live. ROKK, the platform founded by Kamelot drummer Alex Landenburg and Mentalist guitarist Peter Moog, has launched Direct Music Upload — a feature that allows artists to release music straight onto the service without needing labels, distributors, or third-party middlemen.

The goal is simple: make it easier for bands to get their music out while keeping control in their own hands. The upload tool is free to use and is open to any artist who owns the rights to their material.

Direct Music Upload is designed for independent musicians releasing on their own, artists working with aggregators that are not yet connected with ROKK (such as DistroKid or CD Baby), and even newcomers who have never put music on streaming platforms before.

Landenburg, who also plays with Cyhra, explained the motivation behind the move: “It’s hard enough to be an artist today, especially when you’re just starting out. With Direct Music Upload, we wanted to make releasing music simpler and fairer — and show that streaming can work differently, in a way that actually puts artists first.”

ROKK positions itself as a platform built around heavy music culture, describing the service as: “the ultimate streaming platform for all things hard and heavy, with superior sound quality and finally fair compensation for artists at its core.”

The platform has already gained attention for its payout structure and transparency. Unlike many major streaming services, ROKK pays royalties starting from the very first stream, with no minimum play threshold required before an artist begins earning.

Uploading music comes at no cost, and ROKK also does not take a percentage cut from artist payouts, keeping the model focused on supporting musicians rather than squeezing revenue out of them.

Once tracks are live, fans can also back artists directly through ROKK’s Direct Artist Support feature, giving bands another way to connect with listeners beyond standard streaming plays.

Direct Music Upload is now available for all registered ROKK artists, and new artists can access it immediately after signing up.

ROKK is currently available on iOS, Android, and via web access through here across Europe, with expansion into other regions planned down the line.

For bands looking for a heavy-focused alternative with more direct control, this is one platform making a serious push toward an artist-first approach.

The post ROKK Streaming Platform Introduces Free Direct Music Upload appeared first on Sonic Perspectives.

While not everyone involved in this year’s halftime production has been announced yet, one thing is confirmed: Bad Bunny.

The post Super Bowl Halftime Show: Who is Performing in 2026? appeared first on Audio Ink Radio.

Legendary New Wave Of British Heavy Metal veterans More have returned with new fire. The band has released “Spirits Of War”, the first single from their upcoming album Destructor, along with an official lyric video.

The new record, due March 6, carries extra weight for longtime fans. Destructor stands as the final production from late producer Chris Tsangarides, known for his work with Judas Priest, King Diamond, Helloween, and Yngwie Malmsteen. The last mix of the album was delivered from his own Ecology Rooms studio shortly before his passing in January 2017.

Tsangarides brought his signature approach to the sessions, applying his well-known Vortex guitar system to the sharp, driving guitar work throughout the album. The result is a record built on the classic More foundation, backed by a seasoned performance from the full band.

Bassist Baz Nicholls explained why “Spirits Of War” was chosen as the lead single: “Why ‘Spirits Of War’ as the single? While preparing Destructor for release, More began introducing new material into their live set. One song quickly separated itself from the rest. Each time it was played, ‘Spirits Of War’ drew the strongest reaction from the crowd, with audiences instinctively singing along to its unmistakable ‘Valhalla’ chorus chant.

It soon became clear that ‘Spirits Of War’ wasn’t just another track from the album — it was becoming a More anthem.

This track really sets the tone for the whole album — it’s a warrior anthem in every sense. It was one of Chris Tsangarides‘s favorites, which makes it feel like a fitting tribute to him. His spirit and influence run through this record, and this song captures that perfectly.”

The album’s journey to release has been long. The final mixes were rediscovered years later when Baz Nicholls recovered them from studio equipment after the facility closed, saving them onto a USB drive. From there, the band brought in mastering engineer Maor Appelbaum in Los Angeles, a longtime collaborator who had worked with Tsangarides on multiple projects.

Completed in 2025, Destructor balances classic NWOBHM power with a modern edge, serving as both a tribute to Tsangarides and a statement that More still belong in today’s metal conversation.

Few bands capture the grit and drive of the NWOBHM like More. Formed in London in 1979 by guitarist Kenny Cox, the group broke through with their major-label debut Warhead in 1981 via Atlantic Records. They toured alongside Iron Maiden during the Killers era and earned a slot at Monsters Of Rock.

Their follow-up, Blood & Thunder (1982), further locked in their reputation for rough-edged hooks and blistering riffs. Now, more than four decades later, the band are finally delivering their long-awaited third full-length studio album.

To release the record, the band formed their own label, Warhead Music LLP, with support from management and executive producer Dan McConomy. Destructor arrives worldwide March 6, 2026, with digital distribution handled by The Orchard. A limited signed CD digipack is also available through the band’s official online store while supplies last.

For longtime listeners, Destructor continues a story that started in the early days of British heavy metal. For new fans, it’s a clear reminder that More remain an active force, not a nostalgia act.

Originally formed under the name Defender, More became part of the second wave of NWOBHM, with Warhead and Blood & Thunder capturing the raw ambition of the era. Despite lineup changes and the shifting tides of the industry, the band endured.

Guitarist Laurie Mansworth later formed Airrace, while vocalist duties shifted between Paul Mario Day, Mick Stratton, and later Mike Freeland.

As of 2025, More’s lineup includes:

• Baz Nicholls: Bass
• Peter Welsh: Guitar
• Steve Rix: Drums
• Mike Freeland: Vocals

The post NWOBHM Veterans MORE Drop New Single “Spirits Of War” From Upcoming Album “Destructor” appeared first on Sonic Perspectives.

To celebrate Samantha Fish’s 2026 UK tour, the American guitarist and vocalist has released her new single “Rusty Razor” featuring Mick Collins. “Rusty Razor” is the latest single taken from Samantha’s album Paper Doll.

The single is released three weeks before Samantha’s Paper Doll UK Tour kicks off at the York Barbican on February 27th. Tickets for all her UK concerts are available here or here, except Edinburgh Queen’s Hall where tickets are available here.

Samantha is also pleased to announce that her special guest at all UK concerts is The Zac Schulze Gang.

The UK tour follows Samantha’s latest critically acclaimed studio album Paper Doll, that was Grammy nominated for “Best Contemporary Blues Album.”

Samantha will perform songs from her new album Paper Doll, plus tracks from her classic albums including Wild Heart, Chills & Fever, Belle of the West, Death Wish Blues, Faster, and Kill or Be Kind.

Samantha was also nominated for a 2024 Grammy for “Contemporary Blues Album of the Year” for her collaboration with Jesse Dayton on Death Wish Blues. Total Guitar voted Samantha as one of the “Top 100 Greatest Blues Guitarists” of all-time. In 2024, she joined Slash on his S.E.R.P.E.N.T. US tour.

The charismatic singer-guitarist-songwriter has earned a reputation as a guitar hero and a powerful live performer, while releasing a series of acclaimed albums that have shown her restless creative spirit consistently pushing her in new, exciting, and often unexpected musical directions.

The New York Times called Fish, “An impressive blues guitarist who sings with sweet power,” and “One of the genre’s most promising young talents.” Her hometown paper, the Kansas City Star wrote: “Samantha Fish has kicked down the door of the patriarchal blues club and displays more imagination and creativity than some blues veterans exhibit over the course of their careers.”

Samantha believes her musical future is an open road. “I’m never going be a traditional blues artist, because that’s not who I am,” she says. “But it’s all the Blues for me. When Muddy Waters and Howlin’ Wolf came out, what they were doing didn’t sound like anything that had been done in Blues before.

The post SAMANTHA FISH Releases New Single “Rusty Razor” Featuring MICK COLLINS appeared first on Sonic Perspectives.

Good Day Noir Family,
A distant signal opens “Little Things”, and the impression is immediate. The track moves like a vessel cutting through deep space, alerting unseen cosmic creatures of its passage.

Little Things is LunaRover’s Single Out Now

Because of that opening gesture, the listener enters a futuristic environment before any rhythm fully settles. The sonic palette feels intentional rather than decorative.

The voice arrives heavily processed and deliberately artificial. Instead of hiding that treatment, LunaRover place it at the center. The vocal feels robotic yet intimate, distant yet oddly present. Meanwhile, the instrumental layers recall wide sci-fi imagery, echoing cinematic universes similar to Interstellar. The duo avoid grand excess. The groove stays steady, slightly industrial, and restrained.

Rhythm plays a crucial role here. The beat moves forward with purpose, yet it pauses at key moments. Those breaks act like chapter markers, signaling transitions rather than tension drops. The song breathes even while maintaining momentum. In addition, those silences highlight the precision of the arrangement.

LunaRover’s sound design remains their strongest signature. Every texture feels carved rather than stacked. Consequently, the track carries a cinematic quality without leaning on bombast. The duo’s approach suggests an evolution of electronic pop language. You can hear traces of Depeche Mode’s emotional minimalism, touches of Nine Inch Nails’ mechanical edge, and the melodic discipline of Pet Shop Boys. Still, the final result sounds softer and more hypnotic.

What truly defines “Little Things” is balance. The music never overwhelms the vocal, and the vocal never dominates the structure. Instead, both elements orbit each other. The track sustains interest across its runtime. Also, the mellow tone keeps the experience immersive rather than aggressive.

Toward the final section, a luminous pad emerges. It feels almost celestial, like a ray of light cutting through thick clouds. At that moment, the song opens emotionally without changing tempo. Then, rather than escalating, it resolves calmly. This choice reinforces the duo’s confidence in subtlety.

“Little Things” does not aim for instant hooks. Instead, it invites repeated listening. Each pass reveals new details, new textures, and new intentions.

Little Things is LunaRover’s Single Out Now!

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Hypnotic!

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