Reverend Jon unveils My Setting Sun, a hypnotic new wave-leaning cut that thrives on groove, atmosphere, and emotional lift. Built around live drums and looping techniques, the track carries an organic pulse that gradually expands into something cinematic, blending analog warmth with a modern sheen. Rooted in a performance-driven approach, Reverend Jon shapes a sound that feels both intimate and expansive, where deep synth basslines and shimmering layers support a chorus designed to linger long after it fades.
It is a slow-burning, immersive piece that captures the kind of energy made for shared moments and late-night repetition.
Fleur Bleu·e craft something quietly haunting with All the Little Beings, a dream pop piece that feels suspended between memory and displacement. Formed in France and later relocating to Pennsylvania, the duo channel their sense of cultural in-betweenness into a track that shimmers with nostalgia while carrying an undercurrent of unease. Hypnotic guitar patterns ripple beneath Delphine Lucy Lam’s more immediate, emotionally charged vocals, evoking the invisible life of spaces left behind. Blurring shoegaze textures with a sharper new wave edge, the song captures the strange intimacy of places, and the ghosts, real or imagined, that linger within them.
In early 2026, Frozen Soul embarked on a European tour as the supporting act for Heaven Shall Burn. The tour actually came a little too early for the new album, but the band offered a sneak preview of what to expect from their latest studio effort, “No Place for Warmth”. Following the release of four… Continue Reading →
“For the most part, I think we were chasing rainbows in the sunlight and then into the dark.” – Mychael Ghost (ASTARI NITE)
FOR IMMEDIATE RELEASE:
May 4th, 2026 – ASTARI NITE has just announced the release of their new EP, Medications In Bloom.
With themes of validation, self-preservation, romance, glamour and decay running throughout the release, ASTARI NITE encourages the listener to wear the brightest lipstick, laugh the loudest, be brave and find courage to stand up for yourself. Find positivity in negativity. Open the door and say good morning to strangers. Medications In Bloom inspires and motivates acceptance. Everyone deserves to be loved.
Commenting on the Ep’s title, vocalist, Mychael Ghost reveals: “My mother has not been doing well for quite some time. My life for the past four and a half years consists of doctor visits, chatting with nurses, buying her flowers that make me sneeze, my mind wandering about childhood memories while holding her hand. Nevertheless, whenever her prescription is re-filled, I’m quickly notified. One day I received that reassuring alert and thought to myself, YAY, “Medications In Bloom” again.”
Medications In Bloom is available on limited edition compact disc and on all major digital outlets worldwide. Buy it HERE: https://astarinitetv1993.bandcamp.com/
Review and photos by: Ali Williams There are certain artists that, regardless of their genre, you just can’t but help dig the noise they make. There are also certain venues that feel less like a room with a stage and more like a living, breathing organism once the lights go down and when the two […]
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HOLLYWOOD, CA — In a rare and revealing look behind the curtain of the rock and roll lifestyle, KORN drummer Ray Luzier has confessed that his commitment to sobriety cost him positions in “hugely famous” bands. Speaking to a packed audience of aspiring musicians at Musicians Institute (MI) for “Pearl Day,” Luzier—a graduate of the prestigious institution—detailed the brutal reality of the industry, where “partying” is often viewed as a job requirement, and how his refusal to use drugs became a barrier to entry before finding his permanent home.
TL;DR: The Key Takeaways
Sobriety Over Gigs: Ray Luzier revealed he was fired from two massive, unnamed bands because he “didn’t party,” emphasizing that “longevity” was his ultimate goal.
The Van Halen Connection: During his eight-year tenure with David Lee Roth, Luzier admitted to “pretending” to drink from a Jack Daniel’s bottle to fit in with the “bipolar maniac stuff.”
KORN Longevity: Originally told by Fieldy in 2007 that KORN might only last “a year or two,” Luzier has seen the band’s popularity explode across three generations.
Old School Recording: Luzier confirmed the band’s new record is being recorded to two-inch tape to avoid the “soul-sucking” perfection of modern AI and grid-locked production.
From Farm Boy to Global Icon: The Stay Humble Philosophy
Ray Luzier’s journey is the quintessential American dream for metalheads. Raised on a 118-acre farm in West Newton, Pennsylvania, an hour outside of Pittsburgh, Luzier moved to Los Angeles in 1988 with nothing but a relentless work ethic. Despite being one of the most respected drummers in the world, Luzier resists the “rock star” label, preferring to view himself as a humble musician who happens to reap the benefits of the industry.
“I’m just a guy that hangs out with rock stars,” Luzier told the MI students. “Stay humble. You never know what’s gonna happen.” He recalled joining KORN in 2007, a time when bassist Fieldy suggested the band’s shelf life was nearly over. Instead, Luzier has witnessed a massive resurgence, noting that KORN recently sold out South American stadiums in just 63 minutes. “You used to see fathers and sons… now you see grandpas and dads. It’s the coolest thing ever.”
The most shocking moment of the discussion came when Luzier addressed the dark side of the 1990s and 2000s rock scenes. While many musicians lose their careers to addiction, Luzier actually lost jobs because he wasn’t an addict.
“I’ve lost gigs because I didn’t do drugs. That’s a true story,” Luzier revealed. “I had two really big bands, and because I didn’t party, I got let go, and it was straight up.”
This pressure followed him into his eight-year stint with Van Halen frontman David Lee Roth. Luzier described a scene where bottles of Jack Daniel’s and drugs were constantly in rotation. Fearing he would lose another high-profile job, Luzier admitted to faking his participation. “A big old bottle of Jack Daniel’s… it hits my lips, but I don’t swallow it. I was like, ‘I’m one of you. Look at me.’” Eventually, Roth confronted him, but to Luzier’s surprise, the “Diamond Dave” persona masked a smart leader who actually wanted a sober drummer to “drive the ship.”
Luzier’s staunch anti-drug stance was fueled by seeing the decline of legends like the late Scott Weiland. Luzier, who filled in for Stone Temple Pilots for three shows, recalled the heartbreaking experience of seeing Weiland “so gone” during his 30th attempt at rehab. “I wanted longevity,” Ray emphasized. “I wanted to do this till I can’t pick a stick up anymore.”
That desire for authenticity extends to Luzier’s views on modern technology. He issued a blistering critique of current production trends and the encroachment of Artificial Intelligence in music. “This whole A.I. crap is driving me nuttzo,” Luzier said. “Country songs are charting… Play your damn instrument! Dave Grohl said it best: ‘Get in a garage and suck until you don’t suck anymore.’”
Luzier expressed frustration with the “grid-locked” sound of modern rock radio, stating that many bands sound identical because the “soul” has been sucked out by computers. In a move that will thrill purists, he confirmed that the upcoming KORN album is being recorded to two-inch analog tape, ensuring the raw, human imperfection that defined the band’s early sound remains intact.
When did Ray Luzier join KORN? Ray Luzier joined KORN as a touring member in 2007 before becoming a permanent member in 2009.
Who did Ray Luzier play for before KORN? Most notably, he spent eight years as the drummer for David Lee Roth and has worked with bands like Army of Anyone and Stone Temple Pilots.
Is there a new KORN album coming? Yes. Luzier confirmed the band is currently recording their new album using traditional two-inch tape.
Band Bio: KORN
Formed in Bakersfield, California, in 1993, KORN is the definitive pioneer of the Nu-Metal genre. Led by frontman Jonathan Davis, the band’s innovative use of seven-string guitars and hip-hop influenced rhythms changed the face of heavy music. With over 40 million albums sold worldwide and two Grammy Awards, KORN remains a titan of the metal scene in 2026, continuing to bridge generational gaps with their visceral, emotionally charged sound.
REVIEW BY DAVID TAYLOR AND PHOTOS BY PETER AMISANO | Go Venue Magazine
Steelhouse in downtown Omaha was the place to be on Saturday, May 2, as Alter Bridge made their return to the metro area. The Alter Bridge devotees braved the craziness of the annual Berkshire Hathaway meeting this weekend to see their favorite band play live.
Tim Montana from Montana was the opener. You never heard about singer-songwriter types in the hard rock world, but Tim Montana has been grinding for a long time in the country space that recently he has evolved his sound to that liking. He kind of reminded me of a trailer trash (respectfully) version of Dave Grohl, with his long hair and beard and rhythm guitar playing. He was name dropping like crazy though, telling us that Jerry Cantrell, Slash, and Billy Gibbons will be on his upcoming album. But what he performed were well written rock songs, so you have to give him that. The coolest thing he mentioned was his inclusion of some Native people from Montana on his upcoming album, how he had this relationship with them since he was a kid. Also, shout out to his guitar player for learning the New Line Cinema theme. It was a solid opening set to start the night.
Filter was up next. This was my second time seeing them live, having saw them open up for Rob Zombie and Alice Cooper in Lincoln in 2024. Richard Patrick’s project has been going for over thirty years and he brings it onstage. I felt the crowd was a little muted, but when they play the hits, it was like if they woken up. I feel like we don’t talk about Richard Patrick’s screams. He is an underrated screamer on Filter’s songs and sounded amazing during their performance. They are just one of those bands that don’t need a visually pleasing production. It’s about the music themselves. I’m glad Filter is still going strong and hope that Richard Patrick finds enjoyment of going out there to play live music. They have a new album coming out I’m assuming by the end of this year titled, The Antidote, so keep your eyes and ears peeled for news about that.
Alter Bridge was ready to melt Omaha’s faces. The last time I saw them was in August of 2023, which was right before Creed (the instrumentalists of Creed are in Alter Bridge) got back together. I’m glad they didn’t leave Myles Kennedy in the dust playing these big gigs in America with Creed because they really shine well with Myles at the front. And this was Alter Bridge’s first time playing Omaha proper, having only played Council Bluffs a couple times. The band sounded incredible inside the Steelhouse, with Myles even complementing how much he was impressed with it, so that bodes well for future tour dates. The new songs, including the lead single and set kickoff, “Silent Divide”, sounded great. I was so happy to hear the title track of their album, Fortress, be played live, the epic final track off that album. I will always be impressed by the musicianship on that stage, especially Myles Kennedy’s guitar playing who doesn’t get enough recognition for. And Mark Tremonti continues to be a beast of a guitar player, who also has great underrated rhythm guitar playing. I can now look forward to every Alter Bridge album cycle now that they have added the Omaha metro area to the lists of areas that have returned to.
If you haven’t checked out Italian prog rock band Karmamoi yet, their 7th album, Eternal Mistake, is your opportunity. Taking inspiration from bands like latter-day Porcupine Tree, which blend edgy riffs with emotion and lush arrangements, this quartet has plenty of musical muscle alongside intriguing lyrical ideas. Indeed, Eternal Mistake is a concept album set not very far into the future, where a romance between a human and a humanoid is possible. Taking the template of Frankenstein and adding a dash of romance, we explore a few of the profound themes surrounding AI and its implications for emotions, soul, and love.
Given the subject material, it’s refreshing to see the disclaimer “AI-Free Statement: Music, Lyrics, Arrangements, Mixing, and Artwork of ‘Eternal Mistake’ are AI-free” boldly declared at the outset. Hopefully, many bands will adopt this approach too, and keep our music human-made. (Though what then comes to mind are the many 70s Queen albums which proudly declared being made devoid of synths…only to later swing dramatically in the opposite direction. Machines…back to humans!)
Whether you’re looking for a creative, futuristic concept storyline or not, Eternal Mistake has plenty to offer from a musical perspective as well. Impressively, the album launches with one banger track after another. Aside from the melodic hooks, what stands out most are the thickly layered arrangements, which juxtapose emotional vocal delivery with chordal progressions that suck you in.
Singer Valerio Sgargi thankfully has a great set of pipes, which are able to even lend an occasional operatic flair when the storyline requires it, a la Devin Townsend or Damian Wilson. With vocals often being the weak link for modern prog bands, it’s gratifying to savor the power and assuredness of a strong singer. Sgargi, who also plays keys and guitar, collaborates with drummer/keyboardist Daniele Giovannoni on all of the material, and apparently, they are a strong team together because the resulting songs deliver time and time again. The band is rounded out by Alex Massari on guitars and Alessandro Cefalì on bass, both of whom bring a confident attitude and performance. It’s a dynamite collection of musicians, occasionally augmented by guest cameos.
The downside of a concept piece like this is that it can take itself a little too seriously, and at times, that can become overbearing or just corny. For the most part, this element only crops up during the bookends: the short opening narrated intro and the closing track. Don’t let them dissuade you, as there’s plenty of gold in between. “Lara Is Your Name” is a dramatic first proper song, bestowing our humanoid with her identity and providing a killer groove in which to do so. Giovannoni’s command of the drum kit is quickly apparent and is well engineered by Fabio Ferri. Throughout the album, Ferri utilizes some very cool techniques in his mix, which don’t distract but rather elevate the listening experience.
The next track, “Don’t Knock On The Door,” begins with a moody atmosphere but turns out to be a favorite on the album, so strong are its melodies and textures, not to mention Sgargi’s vocal impact. Sgargi and Giovannoni understand how to build a track over time, and the payoff is huge. “I’m Not On Your Side” picks up the pace with rough edges and a welcome slam on Trump’s egoistic bravado. But then we’re back to a mellow acoustic intro for “Nothing But”, proving that Karmamoi can succeed in all extremes of their dynamic range, as the song builds with a hypnotic performance over 10 minutes in length.
The existential dilemma of the story starts to dive deeper on the subsequent tracks with titles like “The Mirror”, “No Soul”, “The Question”, and the title track. Humanoid Lara wrestles with the inevitable questions of what home, love, and soul really mean for an artificial entity, especially in the context of a relationship. It’s an ideal backdrop for Sgargi to let it rip vocally, especially on “No Soul”, which even gets bluesy tones added to the mix, including Massari’s killer guitar soloing. One of the album’s best.
The tension continues building through an incredible duet with Susanna Brigatti on “We Are Going Home”, another highlight. Wow. Simply gorgeous. This could easily be the finale of the album, as it is such a fulfilling song and feels like a crescendo, but the band continues with the 10-minute “Hero”, finding Giovannoni going to town on the drum kit.
The band’s attraction to Steven Wilson’s imprint is evident in their music – including the drumming – but they go a step further by inviting Adam Holzman and Randy McStine to cameo for keyboard and guitar solos, respectively. While a cool tip of the hat to these wizards, it also must be said that it feels unnecessary. To their credit, the band’s personnel has enough chops that they don’t really need any outside influence, and so it’s a little bit of a distraction. But it must have been satisfying for them to get that inclusion from these musicians, so no foul there.
Unfortunately, the album starts to deliver diminishing returns towards the end. Rather than choosing to close on the emotionally bonding note of “We Are Going Home”, the band instead ends the album with a track called “No Fucking Way”. Okay, then. Perhaps they felt the storyline had to continue this far, but to these ears it would have been a stronger album if the ending came a little sooner, with one or two fewer tracks. As it is, the album runs 104 minutes, which just feels a bit long.
Still, the ending doesn’t take away from the strength of the album as a whole. Eternal Mistake is unquestionably a success, despite what its title implies. This is an album that deserves to be discovered by the prog masses, a gem of ’26.
Release Date: April 17th, 2026 Record Label: Independent Genre: Progressive Rock
Review and photos by: Ali Williams There are certain artists that, regardless of their genre, you just can’t but help dig the noise they make. There are also certain venues that feel less like a room with a stage and more like a living, breathing organism once the lights go down and when the two […]
