The silence has been broken.

Progression is arguably the natural tendency of all things, but for a musical movement that traces its roots back to the late 1960s, it’s a balancing act between the desire of the artist to explore the limits of virtuoso musicianship and retaining the interest of an audience that prefers simplicity.

For the 90s born Australian progressive metal outfit Teramaze, an evolution from a primarily thrash-based stylistic template to the eclectic stylings normally associated with the likes of Dream Theater and Threshold was how the story began, and following an extended hiatus in the 2000s, band founder and guitarist Dean Wells has been on an impressive tear in the studio with a semi-stable lineup. Now 13 studio albums deep into a highly expansive catalog, 7 of them unveiled in the current decade alone, The Silent Architect raises the qualitative bar even further while still showcasing an uncanny ability to package highly involved feats of technical musicality with earworm melodic hooks.

The same winning lineup that has been cranking out intellectually engaging and explosive anthems since 2019’s Are We Soldiers has been retained with the lone exception of guitarist Chris Zoupa, who exited the fold last year following the recording of 2025’s The Harmony Machine. Though an integral piece of the puzzle that has been Teramaze’s sound over the past several years, founder and mastermind Dean Wells does an exemplary job at filling both roles and proves the linchpin in maintaining the same dense arrangement that has been this outfit’s staple since the late 2010s.

The tightness and colossal power of the rhythm section, culminating in the contributions of bassist Andrew Cameron and drummer Nick Ross, has lost none of its fire, especially during the more thrash-infused segments of this finely tuned progressive metal machine. Likewise, the soaring tenor of vocalist Nathan Peachy, which has enjoyed favorable comparisons to Kamelot frontman Tommy Karevik, retains its highly expressive luster and calls out from above the arrangement like a mighty eagle.

Relative to their recent stream of output, Teramaze’s approach to songwriting swings closer to the elongated and reflective character of Flight Of The Wounded and And The Beauty They Perceive over the concise approach of The Harmony Machine.

Highly expansive and musically expressive epic entries like the 10 minute long opening fanfare and title offering “The Silent Architect” and the riff happy, rhythmically nuanced groove of “The Invisible Countdown” represent a healthy share of too long for radio yet melodically inviting anthems that could easily charm the pants off any Kamelot fan despite being far closer to something that Fates Warning might conjure up, the latter actually including a few riffs that sound dangerously similar to “The Eleventh Hour” off of Parallels. Similarly, but with an even sweeter blend of consonant resounds out of Peachy’s pristine pipes and hearty guitar high-jinks out of Wells stands the punchy anthem “Enemy In The Garden”, a gourmet dish of sonic brilliance that any Dream Theater fan could sink their teeth into.

In contrast to many of their peers, this fold isn’t afraid to present their chops in more concise and restrained showcases, and there is a solid representation of songs here that could pass for rock radio were they a tad less intricate. The dreamy ballad turned hard-rocking ode “Doors Of Yesterday” involves some rather blatant pop flourishes, though tastefully delivered amid several harder-edged ones.

The frantic and fleeting rocker “Mr. Crazy” matches a mainline modern sense of heaviness with a flamboyant vocal display and comes dangerously close to playing in the same stylistic pool as Volbeat. The acoustic guitar-dominated power ballad “Arrow” all but crosses the line into present-day alternative rock territory, whereas the jarring metallic storm of “Dust & Bone” takes a highly blatant step back to their band’s early flirtations with thrash metal, complete with Peachy mixing in some gruff elements to complement his signature clean wail.

But when the rubber hits the road, Teramaze’s forte is when things go long, and everything but the kitchen sink is thrown the audience’s way, and the closing hurrah, “Left In The Fire” lands a formidable coup de grace that challenges their most extravagant of past feats in just under 12 minutes.

If there are to be any signs of this multifaceted, cerebrally geared metal train slowing down, they are far from even being in view. Despite the departure of long-time guitarist Chris Zoupa, this is the exact same band sporting the exact same collage of sounds and styles that has made them a major player in the progressive metal scene for the past decade.

In addition to Dean Wells’ creative well seemingly lacking a bottom, there are no impurities in the water being drawn up, nor are there any cracks in the bucket, given that the quality of the yield remains extremely consistent. The Silent Architect is the sort of album that can stand on equal footing with the recent output of major progressive metal players like Redemption, Anubis Gate, and Threshold, but its level of appeal is sure to reach outward to every corner of the melodic side of the metal scene. Come as you are, but don’t be surprised if you come away changed by what Teramaze has in store here.

Release Date: May 8th, 2026
Record Label: Independent
Genre: Progressive Metal

Musicians:

• Dean Wells / Guitars, vocals
• Nathan Peachey / Vocals
• Andrew Cameron / Bass Guitar
• Nick Ross / Drums

Falling Together Track-list:

1. The Silent Architect 10:13
2. Doors of Yesterday 4:24
3. The Invisible Countdown 8:37
4. Mr Crazy 3:37
5. Arrow 4:50
6. Dust & Bone 4:24
7. Enemy In The Garden 8:30
8. Ghost Hands 5:25
9. Left In The Fire 11:56

Order the album here.

The post TERAMAZE – The Silent Architect (Album Review) appeared first on Sonic Perspectives.

In a move that has sent shockwaves through the global metal community, British power metal titans DragonForce have officially announced that Alissa White-Gluz has joined their ranks as a permanent co-lead vocalist. The news marks a seismic shift for the “world’s fastest band” as they integrate one of the most versatile and powerful voices in modern metal into their high-speed soundscapes.

White-Gluz will share vocal duties with long-time frontman Marc Hudson, creating a dual-vocal dynamic that promises to blend DragonForce’s signature hyper-kinetic melodies with Alissa’s formidable range of gutturals and soaring cleans. The band confirmed the news this week, stating that their upcoming 10th studio album is already being recorded with this new powerhouse lineup.

A New Era of Power and Speed

The collaboration isn’t just a guest appearance; it’s a full-time commitment. Fans won’t have to wait long to see the results, as Alissa is set to make her live debut with the band this Saturday at the Welcome to Rockville festival in Florida. The industry is already buzzing about how her melodic death metal roots will contrast with Herman Li’s signature guitar shredding.

“Alissa has been a friend for years, and her energy is exactly what we needed to push our sound into the next dimension,” Herman Li shared in an official statement. This move marks a significant new chapter for Alissa, allowing her to explore a more melodic, power-metal-driven landscape while still maintaining the aggressive edge she is known for.

With a world tour on the horizon and a new album in the works, the DragonForce x Alissa era is officially here. This is a transformation that will undoubtedly redefine the boundaries of the genre in 2026.

In a move that has sent shockwaves through the global metal community, British power metal titans DragonForce have officially announced that Alissa White-Gluz has joined their ranks as a permanent co-lead vocalist. The news marks a seismic shift for the “world’s fastest band” as they integrate one of the most versatile and powerful voices in modern metal into their high-speed soundscapes.

White-Gluz will share vocal duties with long-time frontman Marc Hudson, creating a dual-vocal dynamic that promises to blend DragonForce’s signature hyper-kinetic melodies with Alissa’s formidable range of gutturals and soaring cleans. The band confirmed the news this week, stating that their upcoming 10th studio album is already being recorded with this new powerhouse lineup.

A New Era of Power and Speed

The collaboration isn’t just a guest appearance; it’s a full-time commitment. Fans won’t have to wait long to see the results, as Alissa is set to make her live debut with the band this Saturday at the Welcome to Rockville festival in Florida. The industry is already buzzing about how her melodic death metal roots will contrast with Herman Li’s signature guitar shredding.

“Alissa has been a friend for years, and her energy is exactly what we needed to push our sound into the next dimension,” Herman Li shared in an official statement. This move marks a significant new chapter for Alissa, allowing her to explore a more melodic, power-metal-driven landscape while still maintaining the aggressive edge she is known for.

With a world tour on the horizon and a new album in the works, the DragonForce x Alissa era is officially here. This is a transformation that will undoubtedly redefine the boundaries of the genre in 2026.

A key Detroit Lions schedule date has leaked online, and it has people talking. Here’s the date and what it means.

The post Detroit Lions Schedule Date Leaks Online appeared first on Audio Ink Radio.

Last year, Sorry’s Marco Pini joined forces with Felix Bayley-Higgins, Beth Boswell-Knight, and Pedro Takahashi to form RIP Magic. The dance-rock crew supported LCD Soundsystem for some shows and then collaborated with James Murphy; at the moment, they’re opening for Tame Impala’s arena tour. Today, they’re back with another Murphy-produced track, and it’s called “Screwdark.” Arriving…

The post RIP Magic – “Screwdark” appeared first on Stereogum.

American prog rock/metal troupe Advent Horizon have been going strong for about 15 years. While 2012’s Immured and 2015’s Stagehound rightly earned positive feedback, it was 2023’s A Cell to Call Home that took the ensemble to the next level in terms of both artistry and audience. Dishing out gorgeously complex arrangements and wonderfully introspective songwriting in equal measure, it earned praise from numerous outlets (including our own review).

Naturally, the group had their work cut out for them in trying to strike gold again with Falling Together, and miraculously, they did. Picking up where their last LP left off, it fits well alongside it while also going into some surprisingly heavy places to differentiate itself. The result is a striking companion piece to A Cell to Call Home that – due mostly to its shorter length – doesn’t quite surpass its predecessor but will certainly delight anyone who loves what Advent Horizon have done thus far.

Falling Together upholds the band’s penchant for personal and philosophical subject matter, as they explain that it’s “about holding your beliefs under a microscope and determining whether they are truly yours or whether they were planted by others when you were young and impressionable.”

Furthermore, frontman Rylee McDonald adds: ’ve spent the past decade re-examining my upbringing and realized many of the “truths” I was taught were carefully shaped beliefs. While rooted in my own experience, it revealed how we still divide ourselves by religion, politics, and class — an enduring “us vs. them.” Falling Together is my attempt to capture those reflections in song.

Advent Horizon’s growing ambitions are clear from the jump via “In a Lone and Dreary World,” a 19-minute epic suite that’s almost twice as long as any other composition in their catalog. At first, it’s restrained and atmospheric, with delicate timbres supporting Rylee McDonald’s soaring contemplations; however, it soon picks up steam by incorporating beautiful vocal harmonies, djent-esque ferocity, death metal growls, vibrant keys, and so much more. Throughout the song – and the whole sequence, for that matter – Kristen McDonald’s comparably pure and affective singing matches Rylee McDonald’s magnificently, and as always, the band moves masterfully between hecticness and heavenliness.

While that opener is inherently the most impressive part of the album (if not Advent Horizon’s entire career), what remains is expectedly superb as well.

In particular, and despite how incongruous it might sound, “Faith’s Window” irresistibly mixes the tender pop-rock accessibility of crossover prog with the demonic growls of, say, Rivers of Nihil and Ihsahn. Later, “Past Life Parable” offers an even brighter vibe with its sing-along hooks, sophisticated playing, and stirring lyrics (“You gave a piece of everything you own / To build up someone else’s home / And the whole damn time you believed / You fought against the world”). The two-part “Gravity” is another highlight because of its juxtaposition of transcendental and tumultuous instrumentation alongside unwaveringly gripping verses and choruses.

Every piece of Falling Together’s puzzle is terrific, though, further exemplifying why Advent Horizon are one of the premier acts in modern American prog. Few of their contemporaries are as consistently adept at melding top-tier songwriting/singing with arrangements that’re simultaneously tricky, wide-ranging, and routinely inviting. In other words, Advent Horizon’s craftsmanship continues to be exceptional, and if you’ve yet to discover their greatness, Falling Together is a great place to start.

Release Date: May 15th, 2026
Record Label: Self-Released / Independent
Genre: Progressive Rock / Metal

Musicians:

• Rylee McDonald / Vocals, keys, guitar
• Kristen McDonald / Vocals
• Mike Lofgreen / Drums, percussion
• Cason Wood / Bass, keys, trombone
• Grant Matheson / Guitar, keys, vocals

Guest Musicians

• Zach Boorman / Guitar, piano, synth, percussion, backing vocals
• Doug Robinson / Guitar
• Cressa McDonald / Vocal ambience
• Griffin McDonald / Vocal ambience

Falling Together Track-list:

1. In a Lone and Dreary World
2. Faith’s Window
3. Patience
4. Past Life Parable
5. Gravity I
6. Gravity II
7. Animals

Order Falling Together here

The post ADVENT HORIZON – Falling Together (Album Review) appeared first on Sonic Perspectives.

The status of Scandinavia as the spiritual home of melodic rock is reflected not just in the volume of bands there, but an increasing number of festivals dedicated to, or featuring a goodly number of, melodic acts. When a new … Continue reading →

The post Gig review: WINGS OF AOR FESTIVAL- Arbis, Norrkoping, Sweden, 24-25 April 2026 appeared first on Get Ready to ROCK!.

Fans waiting for Dream Theater to follow up on 2025’s Parasomnia can stop refreshing their feeds, at least for a while. In a new interview with Brazilian journalist Igor Miranda, singer James LaBrie laid out the band’s rough timeline for the next album, and “rough” is very much the operative word.

Asked whether the band had begun discussing a follow-up, LaBrie said (transcribed by Blabbermouth): “Whenever we approach a new album, it’s where we feel that we’re all presently sitting in life, what is affecting us, what is inspiring us, and most importantly, what do we feel should be the next chapter in Dream Theater as far as another album, its music, what is it going to represent, and something we can stand behind 100%. So we usually slowly transition to that when we know that we’re gonna go into the studio, when we know we’re gonna be writing a new album. That’s when we start having the conversations, as, ‘Hey, what do you guys think about maybe this kind of an album or…?’ And then at the same time, even regardless of all the conversations we have, each guy will come in with seeds of ideas, and we throw that on the floor. ‘Here we go, man.’ It’s there. Which do we feel is something that’s really cool and something that we can build on, something that we feel is going in the direction that we’ve been discussing? And so it’s kind of like that.”

He continued: “Right now, the focus is on this world tour. We’re gonna be on the world tour until — what? — mid-May. And that’s the focus. Then we’re gonna take a break for a little bit. And then probably late ’26 or early ’27, we’ll get into starting to write and record a new album. And then hopefully late ’27 or early ’28, we’ll go back out with a new tour. And this is just — this is all not concrete. But this seems to be the idea at this point.”

Drummer Mike Portnoy expressed the same uncertain tune back in December. Speaking to Troy Culpan of Australia’s May The Rock Be With You, Portnoy said: “Well, we have to wait, ’cause it’s been a long tour. We’ve been out for a year now at this point. We started in October of 2024. And here we are, a year later now, and by the time we get down to Australia [in February 2026] and wrap up the tour cycle a few months after that, it’ll have been a year and a half on the road. So, that’s the focus right now. But once the tour cycle wraps and concludes by next spring or so, we’ll probably take the summer [of 2026] off, ’cause it’s been a long road, and then start thinking about a new album after that.”

In the meantime, last November, the band released Quarantième: Live À Paris via Inside Out Music/Sony Music, documenting their Nov. 23, 2024, concert at the Adidas Arena in Paris during the 40th-anniversary European tour. Parasomnia itself — an eight-song, 71-minute set recorded at the band’s DTHQ studio on Long Island, N.Y., produced by Petrucci and mixed by Andy Sneap — came out Feb. 7, 2025 via InsideOut Music.

The post JAMES LaBRIE Says DREAM THEATER Will Probably Start Writing And Recording A New Album Around “Late ’26 Or Early ’27” appeared first on Sonic Perspectives.

Gravité Fresq Curry Sauce Review

This track opens with an infectious rhythm that keeps you moving. The energy is as refreshing as the morning air, propelling you forward. The vocal delivery flows relentlessly, holding listeners’ attention throughout. The arrangements evoke an 80s vibe, skillfully blended with more modern elements. This piece embodies a dystopian punk aesthetic, addressing the frustration of technology’s increasing grip on our lives.

The song presents an irreverent and fresh take on contemporary themes. It envelops the listener in rapid, energetic vibes that create a feeling of exhilaration. Each beat drives the listener further into a sonic race. This track takes you on a journey, from beginning to end, without losing momentum.

The fast-paced instrumentation and vocal styles work in harmony. The persistent rhythm acts as a foundation, encouraging movement and engagement. Listeners will find themselves compelled to dance or at least tap their feet along to the beat. The mix of retro and contemporary influences makes for an exciting listening experience.

Curry Sauce – Sound and Atmosphere

Lyrically, the song critiques the overwhelming presence of technology in our everyday existence. It resonates deeply with a generation grappling with digital life.

The production style adds depth to the overall impact. The fusion of synthesizers and sharp percussion creates a lively backdrop. This is complemented by the vocal lines that soar above the instrumentation. There are distinct nods to past musical eras, yet the track remains fresh and relevant.

As you delve deeper into the arrangement, the complexity unfolds. Layer upon layer of sound builds an immersive atmosphere, making each listen unique. The track engages with the listener, encouraging repeated plays to fully grasp its intricacies.

Curry Sauce – Performance and Production

The energy of “Curry Sauce” is almost palpable. You can feel the adrenaline coursing through your veins as it plays. The song’s tempo and rhythm create a sense of urgency that is hard to ignore. It is a relentless pursuit of energy and excitement, launching the listener into a state of exhilaration.

“Curry Sauce” is a brilliant fusion of genres and ideas. It highlights the strength of Gravité Fresq as an artist. It challenges conventions and explores important themes while remaining highly entertaining.

For those seeking vibrant, energetic music, this track is a must-listen. Its lively spirit and thought-provoking lyrics will keep you engaged from start to finish. Gravité Fresq has truly crafted a song that captures the essence of contemporary life, making it both relatable and enjoyable.

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The post Gravité Fresq Curry Sauce Review appeared first on Edgar Allan Poets – Noir Rock Band.