Chris Rosenau is a musician who’s been working since the ’90s and who’s been in bands like Collections Of Colonies Of Bees and Volcano Choir. Nick Sanborn is the non-singing half of Sylvan Esso, and he’s been in groups like Megafaun and Made Of Oak. At the Eaux Claires Festival in 2015, Rosenau and Sanborn…
The post Rosenau & Sanborn Announce New Collaborative Album <em>Two</em>: Hear “Walrus” appeared first on Stereogum.
A new feature-length documentary centered on Billy Idol is heading to theaters in the U.S. this February. Titled Billy Idol Should Be Dead, the film was directed by three-time Grammy winner Jonas Åkerlund and produced by Live Nation Studios, with a nationwide theatrical release set for February 26.
Before it opens wide, the documentary will premiere in Los Angeles at the TCL Chinese Theatre on February 23, followed by a New York debut at the Regal Union Square on February 25. Both events will include an acoustic performance from Billy Idol and his longtime guitarist and collaborator Steve Stevens.
The film follows Idol’s path from punk beginnings into full-scale rock stardom, showing the personal cost behind decades in the spotlight. It also focuses on what it took for him to stay standing through everything that came with that life.
Idol had to overcome to not just survive, but to remain one of the most beloved figures in rock n roll, almost fifty years into his career and still selling out arenas around the world.
Billy Idol Should Be Dead traces his story through rare archival footage and new interviews with Idol himself, along with family members, peers, and collaborators. It looks back on his emergence as a defining punk figure, his massive success during the MTV era, and the challenges that followed as his career kept moving forward.
The documentary first screened last summer at the Tribeca Film Festival, then went on to an award-qualifying run. Evan Saxon Productions is handling theatrical distribution in North America, while Fremantle is responsible for release outside the U.S.
The film also features a new original song, “Dying To Live,” written with Academy Award-nominated songwriter J. Ralph. The track has already drawn major attention, recently landing on the shortlist for Best Original Song at the 98th Academy Awards.
The closing sequence of the documentary is built around “Dying To Live,” combining animated and archival visuals from across Idol’s life and career. The song was written by Idol and Ralph alongside Steve Stevens, Tommy English, and Joe Janiak. It has also been nominated for Best Song–Documentary Film at the Hollywood Music In Media Awards, which also recognized Billy Idol Should Be Dead with a nomination for Best Music Documentary–Special Program.
With its theatrical run beginning February 26, the documentary offers a direct look at how Billy Idol made it through decades of highs, crashes, and reinvention while staying a lasting force in rock.
The post BILLY IDOL Documentary “Billy Idol Should Be Dead” Hits U.S. Theaters On February 26 appeared first on Sonic Perspectives.
“The Ghost Of A Future Dead” was said to have been recorded back in early 2025.
The post At The Gates Teasing Their Rumored Final Studio Album With Their Late Vocalist Tomas Lindberg appeared first on Theprp.com.
The post LESOTHO: No Clean Singing Premieres Title Track To A Flashing On Plain Glass, The Third LP From Boston Instrumental Post-Metal Band, Nearing March 13th Release appeared first on INFRARED MAGAZINE.
After over a decade of fronting the Brooklyn indie rock mainstays Sunflower Bean, Julia Cumming is going solo. Her debut album Julia is out this April via her new label home Partisan, and she’s announcing it today with the lead single “My Life.” Cumming made Julia with her collaborator Brian Robert Jones (Paramore, Vampire Weekend)…
The post Sunflower Bean’s Julia Cumming Announces Debut Solo Album <em>Julia</em>: Hear “My Life” appeared first on Stereogum.
Dominique Fils-Aimé starts her new album with her mother.
An old cassette from the 1970s. Her mother, Claudette Thomas, singing a melody written by Patricia Carli and Léon Missir. No gloss, no framing, just a voice travelling across decades. A soft acoustic guitar joins it, then ocean waves, chanting, a low gong that seems to vibrate under your ribs. By the time Fils-Aimé steps in, My World Is the Sun has already set the terms.
This record doesn’t resist analysis so much as make it feel beside the point. The arrangements are precise and the musicianship is assured, but the feeling never gets buried under either. Much of it was recorded live at Studios Opus in L’Assomption, and you can hear that. There’s space between the instruments. Air around the piano. The trumpet appears briefly, then fades. A bass line leans forward for a few bars and slips back. Bassist and producer Jacques Roy handled the mixing and engineering, and he clearly understood that the room was part of the sound.
Fils-Aimé has been building toward this kind of record for a while. Her breakout on La Voix led to a trilogy of albums that worked through jazz, blues and soul with increasing confidence, and earned her Polaris recognition and Junos nominations along the way. My World Is the Sun feels like the moment she stopped proving anything. Gone Girl, her 2022 EP, was sharp and focused but kept a certain distance. This record is warmer and more personal, and takes more risks with structure and space.
On The River, pianist David Osei Afrifa plays with a patience that gives Fils-Aimé room to stretch her phrasing until words lose their edges. Percussionist Elli Miller Maboungou and tabla player Shawn Mativetsky pull certain tracks toward something West African and South Asian in feel without it ever sounding like a fusion exercise. These are textures in service of mood, not credentials on display. Hichem Khalfa’s trumpet shows up a few times and disappears before you can get a fix on it.
The album does have a sameness of tempo that occasionally works against it. Several mid-album tracks share a similar meditative pace, and without a sharp contrast to push against, the attention can drift before Rhythm of Nature arrives to anchor things. That nine-minute track, captured in a single take with executive producer Kevin Annocque on didgeridoo underneath layered voices, justifies the patience the album asks for. It’s the kind of track that doesn’t make sense on paper and lands completely in practice.
On Phoenix Rising, she sings, “Fire rain down on me.” It could tip into theatre. She doesn’t let it. The arrangement swells gently, leaving you with a mix of joy and grief that doesn’t sort itself out. Freedom Become moves closer to prayer, repeating lines like “May our thoughts gather as one.” It could easily veer into hollow uplift. It doesn’t, because she doesn’t oversell it.
Life Remains might be the one that sticks longest. There’s a looseness to it, a reminder to let a moment exist without picking it apart. The album closes with the outro returning to her mother’s melody, then a bonus track, a cover of Francis Cabrel’s Je t’aimais, je t’aime et je t’aimerai, accompanied only by pianist Camille Gélinas. It’s quieter and more private than the rest of the record, and it earns its place at the end.
Over the past two years, Fils-Aimé has played more than 150 shows across 15 countries. You can hear that in this music. Not exhaustion. Confidence. She sounds like someone who knows exactly how much to give and when to pull back.
It’s jazz, soul, blues, but spending too long on the taxonomy misses the point. This is a record that rewards patience and punishes distraction.
Her mother’s voice opens the door. Fils-Aimé closes the circle herself at the end. Not dramatic. Just complete.
My World Is the Sun will be released on February 20 via Ensoul Records.
Photo – Vladim Vilain
Share this :
The post Album Review: Dominique Fils-Aimé – My World Is the Sun appeared first on Montreal Rocks.
Kid Rock worked out a new arrangement with Ticketmaster for this upcoming trek.
The post Kid Rock Teams With RFK Jr. For ‘Rock Out Work Out’ Video, Draws Criticism For $5,000 Front Row Tickets To His New Tour appeared first on Theprp.com.
YUNGBLUD has announced ‘Idols II’, the second part of his 2025 album ‘Idols’, and it is arriving sooner than you think.
The release will be available digitally from February 20. That’s this Friday, by the way. It will be made up of six new tracks, one of them being the recently release new version of ‘Zombie’ featuring The Smashing Pumpkins. It will be made available physically later this year.
The full tracklisting now looks like this:
1. Hello Heaven, Hello
2. Idols Pt. 1
3. Lovesick Lullaby
4. Zombie
5. The Greatest Parade
6. Change
7. Monday Murder
8. Ghosts
9. Fire
10. War
11. Idols Pt. II
12. Supermoon
13. I Need You (To Make The World Seem Fine)
14. The Postman
15. Zombie (feat. The Smashing Pumpkins)
16. Time
17. War Part II
18. Blueberry Hill
19. Suburban Requiem
Dom had this to say about the release, explaining, “This is it. The second chapter of the Idols story. Part 1 was a journey that helped me reclaimmy identity from the darkest position I’ve ever been in my life. Part 2 is about realising that I am alive, that I am real, that this journey that I’ve been on didn’t kill me. It’s about realising that you
can feel invincible when you actually feel yourself. It’s about comprehending that my heart is
beating and that my lungs are filling up with air.”
YUNGBLUD was the winner of Best British Artist at the 2025 Rock Sound Awards.
In a special interview, Dom looks back over these twelve career-defining months to dissect the moments that changed everything, celebrate the people that made it possible and look forward to how he will further cement rock’s place back at the top.
Get your Yungblud magazine and poster plus an exclusive t-shirt at SHOP.ROCKSOUND.TV.
The post YUNGBLUD Reveals Details Of New Release ‘Idols II’ appeared first on Rock Sound.