The literary world marks the birthday of Edgar Allan Poe, born on January 19, 1809, a figure whose shadow still looms over modern literature, music, and art. Poe’s life was marked by brilliance, instability, and loss—elements that would later define his unmistakable voice.

Edgar Allan Poe: Life, Legacy, and a Death Still Unexplained

A Life Shaped by Loss and Obsession

Poe’s early years were troubled. Orphaned as a child, he was taken in by the Allan family, though their relationship remained strained throughout his life. Financial insecurity followed him relentlessly, despite his extraordinary talent. Poe worked as a poet, editor, and critic, often clashing with contemporaries due to his uncompromising standards and sharp critical pen.

His writing reshaped literature. With works such as The Raven, The Tell-Tale Heart, The Black Cat, and The Murders in the Rue Morgue, Poe laid the foundations for modern horror, psychological fiction, and detective stories. His themes—madness, guilt, death, and the fragile boundary between reason and obsession—were deeply personal, reflecting his own inner turmoil and recurring experiences with grief.

The Mysterious Death of Edgar Allan Poe

Poe’s death remains one of the most enduring enigmas in literary history. On October 3, 1849, he was found delirious on the streets of Baltimore, wearing clothes that were not his own. He drifted in and out of consciousness for days before dying on October 7 at the age of 40.

No definitive cause of death was ever established. Theories range from alcohol poisoning and illness to rabies, political kidnapping known as “cooping,” or even deliberate foul play. Medical records were lost, witnesses contradicted each other, and Poe himself was unable to explain what had happened. This uncertainty has only deepened his myth, turning his death into a final, unresolved narrative worthy of his own fiction.

A Modern Tribute: Nevermore

Poe’s influence continues to echo across generations and artistic disciplines. To honor his legacy, Edgar Allan Poets have released their new song Nevermore, a direct homage to the writer who helped define darkness as an artistic language.

The track draws directly from Poe’s universe: its lyrics are built as a sequence of titles and references from his works, forming a poetic collage that mirrors Poe’s obsession with repetition, memory, and fatal inevitability. Rather than retelling a single story, Nevermore evokes the full emotional landscape of Poe’s writing—loss, fixation, and the inescapable presence of the past.

An Immortal Voice

More than a century after his death, Edgar Allan Poe remains unsettlingly alive. His life reads like a cautionary tale of genius misunderstood, while his death stands as literature’s most haunting cliffhanger. Each January, his birthday is not merely a commemoration, but a reminder that some voices are never silenced.

As Nevermore suggests, Poe does not belong to history alone. He continues to speak—again and again—through those who still hear the echo.

Listen to Edgar Allan Poets

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Throttle Back, Sparky, which was self-released on compact disc in 2005, is now available as a vinyl record that comes with a 32-page history of the band penned by lead singer Allen Lulu, who many of you know as an actor, music writer, and passionate rock historian. And what can I say about the album itself? In an entirely good way, it’s unlike any record I’ve ever heard. It broadly falls under the umbrella of power pop, but any attempt to neatly place it into any defined genre of music would fail woefully. It’s over-the-top theatrical yet also spectacularly hook-laden and audaciously rocking. Imagine if Meat Loaf had tried to make a hair metal record but only listened to the bands that secretly wanted to be The Raspberries or Cheap Trick, and he’d hired musicians who were into everything from punk to jazz, yet somehow it all worked through some kind of happy cosmic accident. If “Another Hoop” sounds like it could be the opening number from a rock opera, at least it’s one you’d totally want to see. “Devil Got Shot” pushes itself oh-so-close to the line where a little campy might devolve into parody, but it never crosses it (largely because its hooks are undeniable, and it genuinely & convincingly rocks). “Beatrice” is the closest the album comes to power pop by the book, and it’s glorious. Whatever your definition of an “epic” rock song is, “Trusted” will stretch it. Covers of The Sweet’s “Hellraiser” and Cyndi Lauper’s “She Bop” (which have been excluded from the Bandcamp digital version) present a fuller picture of what Throttle Back Sparky was all about, both musically and spiritually. 

If you’re going to go to the trouble of releasing a largely unsung album on vinyl twenty years after its original release, above all else you have to believe in its staying power. Certainly the cult of power pop is better organized now than it was two decades ago — if not considerably larger. So there’s clearly an audience for Throttle Back, Sparky beyond longtime fans who will be excited to upgrade to vinyl. More importantly, this is an album that has clearly stood the test of time. This is not a case of “You had to be there.” At a time when literally thousands of new releases get launched into the ether every single day, this album is something that stands out, something highly worthy of being heard and discovered by a whole new generation of fans. With only 100 total copies of the vinyl available, there is certainly some urgency required if you want in on the action. But I also think this album will be thoroughly enjoyed by a whole lots of folks who prefer to listen to their music digitally. If you love power pop but not necessarily the “same old, same old” type stuff, Throttle Back, Sparky ought to bring a jolt of sonic excitement into your new year.

Art coverwork courtesy of Zbigniew Bielak,

Review by Anselm Anderson: 

Way back in the early 1970s when I was a youngster, I recall being given a random birthday present of a compilation album. I had no idea about music being at the time probably twelve years old or so. I can’t recall what the compilation album was or which artists appeared on it – other […]

Good Day Noir Family,
A sharp rhythmic lands immediately, and “Transcendence” makes its intentions clear without hesitation.

Transcendence is MOBAXT’s Single Out Now

 The groove hits dry and forceful, while the momentum pulls the listener into a vast astral space. Soon after, shimmering keys expand the spectrum through precise arpeggios. The track opens vertically as much as it moves forward.

MOBAXT does not overload the structure. The arrangement briefly thins out. That choice allows the bassline to step forward with authority. The low end becomes the spine of the track, grounding its dance-trance identity. Moreover, this restraint strengthens the contrast between density and release. The rhythm remains firm, yet it never feels rigid.

An epic tension develops. The energy suggests motion on a cosmic scale. In addition, the repeated patterns feel deliberate rather than mechanical. The music seems to breathe, expanding and contracting in cycles. Because of that, the experience becomes immersive.

There is also a strong sensory quality to this composition. The layers interact like refracted light, splitting into fragments before rejoining the core pulse. The balance between warmth and distance defines the emotional temperature. You can sense the cold vastness of space and the heat of luminous energy. The song works best when absorbed fully, preferably with closed eyes.

MOBAXT’s production choices deserve attention. The kick drum remains slightly muted, yet constant. It functions like a universal heartbeat, driving the track from beginning to end. Meanwhile, the surrounding elements appear and disappear with intention. That movement creates a feeling of travel rather than repetition.

The sonic language leans toward trance without falling into predictability. The progression avoids obvious drops. It relies on gradual elevation. Because of that, the listener stays engaged through evolution rather than surprise. Each section feels connected, coherent, and purposeful.

By the final stretch, the track achieves a form of internal balance. Nothing overwhelms, yet nothing fades into the background. Therefore, “Transcendence” succeeds as a guided journey rather than a club weapon alone. It invites introspection while still offering physical drive.

This single shows MOBAXT’s ability to translate abstract concepts into rhythmic form. It is a focused electronic experience, precise in execution and expansive in imagination.

Visit MOBAXT’s webpage here: https://www.mobaxt.com/

Transcendence is MOBAXT’s Single Out Now!

Expansive!

Find MOBAXT Here:

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Interview conducted by Anselm Anderson

The Rambling Man seized the opportunity to speak with OOB Records and Friendly Folk Records founder Kathy Keller about her tenth anniversary, marking the creation of the ventures, which celebrate the best in folk and prog music from unsigned bands. I talked to her about the companies, their impacts, how she got started, and what it’s like to spend ten years doing what she loves.

Congratulations on your tenth anniversary with OOB Records and Friendly Folk Records. What are your thoughts on achieving this milestone at this stage in your journey?   

Well, hitting the 10-year mark has been surprisingly emotional, filled with nostalgia and “what if” moments. I began with a passion for music as a journalist and by running My Music Matters Management and booking company, along with hosting Prog Core Radio shows. The pivotal moment came in 2017 when I was getting a bit too busy and had to choose between Prog and Folk while balancing a full-time teaching job. Ultimately, I chose to go part-time teaching and launched Friendly Folk Records, but I now wish I had trusted my instinct to embrace all genres from the start with Out of the Box (OOB) Records. The folk journey was adventurous, leading to festivals and hosting stages, but I soon realised that OOB could encompass a broader spectrum of seasoned artists. In 2026, the labels merger under the OOB banner feels like attainment.

You began My Music Matters Management (MMMM) in 2015. What inspired its concept?  

In 2014, after teaching English Language & Literature and Journalism to high school students in the Netherlands, one of my students challenged me to conduct an interview with their band. Although I’d graduated from London School of Journalism in 2005, I’d actually never done a live interview. So, I accepted the student’s challenge and enjoyed the backstage vibe and interviewing process so much that I adopted music journalism as a new hobby. After reviewing and interviewing many local and touring bands, mostly in the progressive and folk genres, a local folk punk band asked if I would be their manager. I investigated the requirements for music management and promotion, and with my first diploma in business management, combined with journalist and teaching qualifications, and years working as an entrepreneur,  it appeared that I had all the qualifications needed. So, I placed a message in a group chat of everyone I’d ever interviewed, and surprisingly, many up-and-coming as well as seasoned musicians were looking for a manager and promotion company, and the rest is history, as they say.

You renamed MMMM to Friendly Folk Records to support emerging folk musicians. How significant was this change for your career?

In 2017, I was approached by a company that assumed MMMM was already a label, as we offered everything except distribution. Within months, MMMM became Friendly Folk Records. The main benefit for musicians was access to worldwide wholesale distribution and increased exposure—opportunities most distributors don’t offer independent artists. The challenge was personal. After two decades working with teenagers and having a nurturing nature, it was hard to say no to young artists who wanted to join the label. In the early years, I invested considerable time, energy, and money often without return. Younger bands frequently broke up, lacked working capital, or misunderstood the role of a record label, expecting a booking agent. Those first years became an intense learning period and helped me grow as a label owner. I experienced every scenario imaginable—good, bad, and downright ugly—but they ultimately laid the foundation for the label. Four seasoned folk acts from those early years remain with Friendly Folk Records: Greenrose Faire (FI), The Midnight (IT), Drusuna (PT), and Jyoti Verhoeff (NL), all of whom began with my management services in 2015.

What can you tell me regarding the 2020 inception of OOB Records and discuss its impact on the subsequent merger with Friendly Folk Records?

 OOB Records, which stands for “Out Of the Box,” embodies my belief that not all musicians fit into a single genre. The name was partially inspired by a request from a prog metal band I had managed in 2015 who asked if I could release their music via FFR. I hesitated, thinking it wouldn’t fit the FFR roster, but I didn’t want to turn friends away. The idea of launching a second label had been brewing in my mind for years, and that request became the push I needed. I wanted to create a label that welcomed various genres, extending beyond just folk. Since 2020, distribution, promotion, and production for both labels have all been managed in-house, leading to a reduction in costs and an increase in control over our artistry. In the early years, FFR relied heavily on a network of labels, which took a significant portion of our profits to provide these services, and kept the label suppressed as an underling to the parent label. Now, with an in-house administrative team, OOB is self-sufficient and process music submissions from around the globe. Importantly, I’ve maintained a strong focus on A&R, ensuring that all artists have a direct open line to me for any questions or concerns. I limit releases to a maximum of two albums and three singles per month to give each release my full attention during production and release week. The OOB logo was designed by my dear friend, professional graphic designer Henk Bol (Philhelmon), whom I managed in 2015. It’s been touching to reconnect with many artists I managed back then, including Philhelmon, who signed their 2024 release with us. Receiving demo submissions from world-renowned artists adds to my optimism for the future of OOB.

Which other music genres do the labels support?  

That’s actually a good question, because a question like that implies that genres define the music, when our belief is that music can and should be free from genre tags. However, in the digital world, it’s essential to categorize music—it’s often the first box to tick on aggregator upload screens. Our slogan, “Out Of the Box Records, for music that doesn’t fit in a genre box,” reflects our commitment to avoiding the pigeonholing of artists. We focus on Folk, Progressive Rock, Hard Rock, Soft Rock, Metal, Blues, Jazz, Pop, Indie, Singer-songwriter, Neo-classical, Cinematic, World Music, Ambient Music, and Reggae, although I wish we could support every genre, our genre focus needs to be where we have promotion and radio associates.

Which bands are you most proud of, and which do you think will achieve greater success?  

That is a bit like asking a mother to choose her favourite child. I am proud of all our artists and their talents. What I cherish most is that they have chosen OOB Records as their label. Unlike many labels that actively solicit new artists, all our artists have approached us with demo submissions and requested to join our growing family. Some of our artists had substantial followings before signing with us, such as Ton Scherpenzeel (Kayak), Mark Truey Trueack (Unitopia, UPF), and Philhelmon. Additionally, Tom Portman and Jamie Toomey have garnered international followings and received grants and support from music and cultural arts councils in Ireland. I genuinely hope all our musicians achieve greater success, but I’m particularly intrigued by newcomers like Flight Recorder, Marcel Singor, Counter’s Creek, and Aeldfire.

What is essential for developing effective labels and helping bands achieve mainstream success? 

That is indeed the million-dollar question that all artists and labels worldwide wish they could answer. On our FAQ page, I mention that if artists expect to be ‘discovered’ and become overnight sensations, their expectations might exceed what we can offer as an indie label. Fame and fortune generally happen to only a handful of artists each decade, primarily in the mainstream music arena and often backed by major labels. The focus of mainstream music shifts from decade to decade with changing fanbase trends; right now, R&B/Hip Hop, Pop, and EDM still dominate the scene. While signed artists typically receive more attention, which helps boost music sales, fan engagement, and visibility, achieving success requires a mix of paid promotion and finding oneself in the right place at the right time. Therefore, I always advise artists to have realistic expectations and to not get carried away with dreams of worldwide stardom.

You are known for collaborating with internationally recognized artists such as the progressive rock group Kayak and co-founder Ton Scherpenzeel. How did that come about, and what is it like working with them?  

Our collaboration officially began in 2021 with Ton’s solo album Velvet Armour, though the story of how it came about goes back to 2018. I attended Kayak’s ‘Seventeen’ album release party to see my friend Kristoffer Gildenlöw as their new bass player. While being repeatedly nudged out of the autograph line, (it happens often in crowds due to my 148cm petite stature) Kristoffer laughed and told me to grab his hand and “duck under the table.” In a flash, I was standing in the middle of Kayak, and unintentionally ended up in countless fan photos. A year later, Ton approached me at a Kayak concert for ‘Out of This World’ and said, “you look familiar.” I explained how I’d accidentally photo-bombed his release party, and we shared a good laugh. It was incredibly humbling when Ton chose Friendly Folk Records for Velvet Armour in 2021, and we’ve been his label home ever since. We’ve released four solo albums across OOB and Friendly Folk Records, with his next album, A Fleeting Light, scheduled for March 2026. Over the years, we’ve built a wonderful working relationship and friendship. Alongside his immense talent, Ton is kind, honest, generous with advice, he has a great sense of humour, and it is a true pleasure to work with him. I’ve learned a lot about the music industry, and his stories from over 50 years in the spotlight are unforgettable. When Kayak released their 2022 farewell tour on DVD and double CD, Ton chose OOB Records, leading to further collaborations, including signing Kayak guitarist Marcel Singor, his duo project ‘Flight Recorder’ with Robin van Vliet, and the duo project Scherpenzeel & Singor. Also, after signing Kayak, we received many demos from many established prog artists who wanted to join OOB Records.

What are your expectations for the next ten years? 

It’s impossible to predict. The industry evolves constantly—who would have imagined that vinyl and cassettes would have a comeback returned—streaming has become contentious, and AI is now embraced for artistic and technical enhancement, so who knows what the future brings. Our focus is to continue growing the OOB label post FFR merger while nurturing our current roster. In 2026 and 2027, we’ll prioritize signing established artists, with only a select new signings each year. We offer fair, competitive contracts and aim to expand our prog rock roster in 2026. With 30 artists and over 100 releases so far, it’s been a strong decade. I think we’ll simply wait, watch, and remain grateful 

In between selling out arenas when touring with the Bret Michaels Band, Pete Evick [vocals/guitar], Dean Cramer [vocals/guitar], along with Chad Stewart [percussion/ vocals] of Faster Pussycat, are performing their Ultimate Acoustic Rock Show across the US.

On January 15, 2026, at Dingbatz in Clifton, New Jersey, the trio turned an intimate room into a full-blown party, reworking some of rock’s greatest hits and party jams. The show was part storytelling, part laughter, and all kick-ass Rock n’ Roll.

For anyone who’s ever picked up an acoustic guitar, there’s nothing quite as satisfying as playing a song and hearing those clean, bright chords ring out. It’s often said that if a song can stand on its own with nothing more than an acoustic guitar, it’s a hit. The majority of the songs performed tonight were bona fide platinum hits, and it was fascinating to hear them stripped down to reveal their hidden musical nuances and lyrical emotion that often get lost in original band arrangements and live performances.

Don Jamieson from That Metal Show, with his perfectly coiffed hair, was on hand to introduce the band and even played a little AC/DC while the band was setting up! With Pete, Dean, and Chad all longtime Kiss fans, the trio opened their 75-plus-minute set with “Love Gun,” a song that first inspired them back in 1977 to pursue life as musicians. From there, they moved through the set in a loose chronological order, spotlighting how other bands like Van Halen and Def Leppard shaped and influenced them.

Each member took a turn on lead vocals: Pete Evick (vocals/guitar) delivered a warm, soulful rendition of John Cougar’s “Little Pink Houses,” and a thunderous version of “Cold Gin,” joined by PJ Farley [Trixter/Fozzy] on background vocals. Dean Cramer took vocals on “I’ve Done Everything for You” by Rick Springfield/Sammy Hagar. Throughout the night, their three voices blended in tight harmonies, bringing songs like Tommy Tutone’s “867-5309/Jenny” to life.

Dean and Pete worked in seamless tandem on guitar, delivering each song with precision and feel. They rarely mirrored the same lines, instead weaving around one another with fills and solo runs while Chad drove the night bare-handed, pounding his acoustic kit from start to finish.

The crowd sang along to every song, riding the musical rollercoaster of the 80s, not knowing what twist or turn might come next, and just excited to hear them play. Pete, Dean, and Chad created a sound that was both powerful and nuanced, a testament to their innate chemistry.

Follow them on Facebook to see where they are playing next: The Ultimate Acoustic Rock Show | Pete Manassas Evick

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Leprous frontman Einar Solberg has announced his second solo album, Vox Occulta, due for release on April 24, 2026. A bold, heavy, and symphonic statement, the LP was recorded in collaboration with the much-sought-after Norwegian Radio Orchestra.

To celebrate the announcement, Einar has launched the second track from the album, titled “Medulla”, and you can watch the video — directed by Leo Liberti — below.

Einar comments: “‘Medulla‘ started with a riff. I had just picked up an eight-string plugin, and it immediately led me to that main idea. As soon as it came together, I knew it had weight. It felt physical — like something you feel in your bones rather than just hear. That’s where the idea of marrow came in.”

“The song is about the part of me that stayed strong through everything I’ve been through. No matter what happened around it, the core held. “There’s no full orchestra on this track, but it still has a cinematic edge. Chris Baum added real strings, and Keli, Pierre Danel, and Jed Lingat bring the song to life on drums, guitar, and bass,” he added.

As well as the beautiful orchestration, Einar is joined by drummer Keli Guðjónsson, violinist Chris Baum, guitarist Pierre Danel, and bassist Jed Lingat, as well as guitarists Ben Levin and John Browne. The album was mixed by Adam Noble and co-produced with David Castillo.

Vox Occulta sees Solberg taking a deeply personal approach, having been an avid fan of classical music and soundtracks for more than 20 years. The lyrics are personal as well, and they make “Vox Occulta” something of a thematic follow-up to 16. Where Solberg‘s solo debut revisited the death of his father and his past struggles with anxiety, this set is a warts-and-all portrait of himself and how he views the world in 2026.

Vox Occulta will be released as a limited CD digipak, gatefold white/black 2LP, and a very limited gatefold transparent red 2LP, as well as digitally.

Pre-order it here.

The first live dates in support of his upcoming second solo album have also been announced, and 2026 will see him playing the following headline dates across Europe:

09/18 – UK London, The Garage
09/19 – FR Paris, Café de la Danse
09/20 – FR Toulouse, Le Rex
09/21 – FR Biarritz, La Rhapsodie
09/22 – PT Porto, Mouco
09/23 – PT Lisbon, Republica da Musica
09/25-26 – ES Barcelona, Be Prog! My Friend
09/26 – FR Grenoble, L’amperage
09/29 – PL Krakow, Hype Park
09/30 – DE Berlin, Lido
10/01 – DE Neunkirchen, Gebläsehalle
10/02 – CH Baden, Werkk Kulturlokal

The post LEPROUS Frontman EINAR SOLBERG Announces Second Solo Album “Vox Occulta”; Shares Music Video For New Single ‘Medulla’ appeared first on Sonic Perspectives.