In June, LA’s Mal Not Bad announced their sophomore LP Sophomore, slated for September. It looks like it’s been pushed to early 2027, but we’re getting another preview today with the new single “DHF” and a music video that involves a dance choreography in a church.
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Microtonal cardboard duo Angine de Poitrine are following their United States live concert debut at last month’s Newport Jazz Festival with their completely sold-out, first-ever US tour. The upcoming run includes multiple shows in a number of cities due to overwhelming popular demand. Dates begin tonight, with a sold-out two-night stand at Denver, CO’s Ogden Theatre August 12-13, and then continue into December.
Highlights include sold-out shows at Los Angeles, CA’s Teragram Ballroom (August 17-18), New York City’s Le Poisson Rouge (September 9-10), Washington, DC’s The Atlantis (September 15) and Lincoln Theater (September 17), Brooklyn, NY’s Brooklyn Bowl (November 16-18), Chicago, IL’s The Salt Shed (November 29-30), Minneapolis, MN’s First Avenue (December 1-2), Los Angeles, CA’s The Wiltern (December 4-5), Portland, OR’s McMenamins Crystal Ballroom (December 10-11), and Seattle, WA’s Showbox SoDo (December 12) and Paramount Theatre (December 13). For waitlists and complete information, please visit here.
With a chosen mission to support and champion the vibrant and largely undiscovered music scene of their home province, Angine De Poitrine will feature a rotating lineup of Quebec artists as opening acts throughout the fall, including psychedelic rockers Population II, electronic singer-songwriter Annie-Claude Deschênes, high-energy noise rock trio zouz, and Montreal guitarist, composer, and improviser René Lussier.
The eagerly awaited US tour continues an epic 2026 international live schedule for Angine de Poitrine that also features sold-out headline dates, festival performances, and more across the US, Canada, Japan, Europe, and the United Kingdom. US festival appearances include King Gizzard & The Lizard Wizard’s Field of Vision II in Buena Vista, CO (August 14), Seattle, WA’s The KEXP BBQ (August 22), Elizabethtown, NY’s Otis Mountain Get Down (September 11), Austin, TX’s Levitation (September 12), Chicago, IL’s Riot Fest (September 19), and Richmond, VA’s Iron Blossom Festival (September 20).
The sold-out US headline tour continues a momentous 2026 for Angine de Poitrine, a landmark year that has also seen the acclaimed release of the duo’s second full-length album, Vol. II, available here now. Following the highly anticipated U.S. physical releases of Vol. I and Vol. II in June, the band debuted at No. 1 on nine Billboard charts, including No. 3 on Top Album Sales, No. 2 on Vinyl Albums, and No. 2 on Indie Store Album Sales. Since their release, the albums have held the number 1 slot on the Indie Store Album chart for eight consecutive weeks.
Vol. II stretches the boundaries of Angine de Poitrine’s brisk, high-voltage approach with even bolder, more dynamic structures. Once again, three essential forces fuel the duo’s inspiration: acid techno, disco, and rock. Vol. II includes such fan favorites as “Fabienk,” which, true to Les Frères de Poitrine’s style, revolves around a single microtonal guitar loop that repeats, doubles, and evolves through a groove that is both insistent and liberating.
Hailed by The Guardian for their “hypnotic riffs and grooves, whose proggy time shifts are all in astonishing lockstep, making this as much party music as it is prog,” the Mantra-Rock Dada Pythagorean-Cubist Orchestra known as Angine de Poitrine gaze in wonder at hot dogs, pyramids, and rock music in all its glorious excess. In just two years, time-traveling space-voyagers Khn de Poitrine (microtonal guitars, vocals) and Klek de Poitrine (percussion, vocals) have surpassed the earthly rock stars they once emulated, earning critical acclaim, millions of streams, and countless new fans worldwide. Structured around a dynamic interplay of adding and removing sound patterns in a constant state of metamorphosis, Angine de Poitrine’s repertoire makes hearts race and bodies move with ecstatic abandon. Through tight, pulsing drum grooves and intricate tangles of double-necked microtonal guitar, the noble brothers summon swirling vortices of hypnotic sound and vision.
Having spent much of the past two years in the eye of an ever-growing storm of enthusiasm from audiences and critics thanks to their asymmetrical, dissonant music and electrifying performances – including a stunning Live on KEXP session that has quickly amassed over 18M views and counting – Angine de Poitrine unveiled Vol. II in April 2026 to worldwide applause from such prestigious publications as the New York Times, Pitchfork, The Guardian, Paste, and more. The duo marked the album’s arrival with virtually non-stop touring around the globe, selling out venues worldwide within minutes, often months in advance. Highlights thus far include a one-night-only show supporting Jack White at Toronto, ON’s RBC Amphitheatre and a free headline show during the Montreal International Jazz Festival, which drew record turnout in excess of 80,000 fans.
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The band revisited their debut album for a live in-studio performance that was issued earlier this year.
The post A Static Lullaby’s “…And Don’t Forget to Breathe (Live)” Set For Vinyl Release appeared first on Theprp.com.
French ritualists Skáld lift the veil to reveal another glimpse into our ancient destiny. “Himinbjǫrg,” the second single off of their upcoming album, Ørlǫg coming on September 25 via Napalm Records, reaches far out to the edge of Asgard, the realm of the Gods. At the eponymous castle in the sky, Heimdall keeps watch for invaders at the rainbow bridge, Bifröst. Skáld lend Asgard’s guardian an assertive voice, letting the song serve as an emphatic yet reassuring guide through our sometimes-clouded destiny. The drum-driven song extends the folk musicians’ invitation to step into ancient times and dance among reawakened spirits.
Skáld comments about “Himinbjǫrg”: “‘Himinbjǫrg’ invites us to step onto the threshold, to the gateway at the edge of the sky, to face the guardian’s gaze—are we ready to be judged as we reach the end of the bridge? These cliffs in the sky are a mirror of our actions, our ambitions, our Ørlǫg; it is a long journey toward something greater — let us ride on without fear.”
Ancient spirits come alive as Skáld extend an invitation into times long gone but not forgotten. Ørlǫg, coming September 25, 2026, is their first album via Napalm Records, and it is our destiny. As the Norns weave our future, this album is a fascinating passageway into our pristine origins and the consequences of our choices. Ten new songs as stepping stones, Ørlǫg is an offering to listen, to dwell, to reflect—and to find something within yourself previously unknown. Skáld don’t just play music; they awaken ancient ways.
A staple band in the genre, Skáld delivers a striking work of art with their latest album, deferentially using their sources to keep old spirits alive and form the enchanting world of Ørlǫg. The language might sound unfamiliar, but the music still touches the soul.
Skáld comments about the album: “Ørlǫg is the cosmic web that influences the world and every person. Part of our Ørlǫg is determined by our birth, our past actions, and our upbringing, but Ørlǫg is not set in stone; our daily choices are constantly shaping it. What we do now and what we have done in the past determines what will happen to us in the future; we cannot escape the consequences of our actions. This album makes us question our choices—both individual and collective—and the patterns we accept or reject. The Norns weave our destiny, but we can take control of certain things: travel, ride worlds, and grow. Each song on this album describes a situation, a place, a choice to be made. Let’s take hold of our Ørlǫg.”
The atmospheric journey to claim direction starts within the dreamscapes of “Draumakona,” an expressive look at the female side of shamanic prophecy. The French band constructs their Nordic folk melodies to be particularly catchy, shifting powerfully between female lead singing and multilayered vocal arrangements to create an antiphony between individuum and community. Inspired by Skaldic poetry, Skáld use instruments fitting of the time: Ørlǫg is shaped by Nordic fiddles, different forms of harps and lyres, horns, kannels, and whistles, among others, as well as three lead vocalists to bring the arrangements to life. “Myrkviðr” picks up on the opening track’s persuasive energy, with male vocals taking the lead this time.
Further spreading their message is “Ratatoskr,” intonated by clattering sounds and throat singing, channeled into hauntingly repetitive chants of the eponymous squirrel’s name. For “Dǫkksalir,” Skáld unwind their melodies to form a gentle song, sweet-talking almost like a lullaby—and therefore fitting the concept of the charming yet also frightening sirens lurking in the dark. “Útgarðr” contrasts the different voices compellingly by the passages being sung simultaneously with alternating focus and a goosebump-inducing climax—instantly opposed by “Ek skald rida” which makes use of similar techniques, but is the most tranquil track on the album. “Himinbjǫrg” reaches far out to the edge of Asgard, where Heimdall guards the rainbow bridge, Bifröst.
Skáld lends him an assertive voice, so the song serves as an emphatic yet reassuring guide through our sometimes-clouded destiny. “Heiemo og Nykkjen,” a rendition of a traditional medieval folk ballad from what is now Norway, takes a more provident approach to both instrumentation and vocal delivery, while “Veit barnit” calls upon the knowledge of children and uses a child’s voice alongside their usual harmonies to reflect that. The grim finale, “Eldr ok iss,” Old Norse for “fire and ice,” again calls on contrasts as well as referencing part of the creation myth in which the primordial being Ymir emerged from Muspelheim—the realm of fire—colliding with icy Nilfheim in the beginning of times. SKÁLD build an appropriate arc of suspense with a formidably sinister atmosphere.
Ørlǫg will be available here in the following formats:
The post French Folk Band SKÁLD Releases Second Single “Himinbjǫrg” From Upcoming Album “Ørlǫg” appeared first on Sonic Perspectives.
M. Shadows went on to provide backup vocals.
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We still have a couple months until Fenne Lily releases her Big Picture followup Win Win. The Brooklyn-via-UK singer-songwriter has unveiled compelling previews with “Uh Huh” and “Thank You Sorry,” and now she’s sharing the exquisite single “Sleeping.”
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Produced by Rock & Roll Hall of Fame inductee and Grammy Award-winning drummer Matt Sorum, the 2,000-copy collector’s edition benefits Adopt the Arts Foundation while preserving an unforgettable night of legendary performances.
Rock & Roll Hall of Fame legends Paul Rodgers and Geezer Butler are honored on Sound & Vision Live, a limited-edition all-star double vinyl album recorded during the inaugural Palm Springs Sound & Vision Awards at the historic Plaza Theatre on March 2, 2026.
Today (August 12), Adopt the Arts Foundation announced the release of Sound & Vision Live, along with the official pre-sale and details for the Sound & Vision Live Record Release Celebration & Concert Film Screenings, taking place Sunday, September 13, 2026, at the Plaza Theatre in Palm Springs.
The recording features performances by Paul Rodgers (Free, Bad Company) and Geezer Butler (Black Sabbath), joined by an all-star lineup including Corey Taylor (Slipknot), Lzzy Hale (Halestorm), Glenn Hughes (Deep Purple), Nuno Bettencourt (Extreme), Charlie Starr (BlackBerry Smoke), Phil X (Bon Jovi), Steve Stevens (Billy Idol), Matt Sorum (Guns N’ Roses, Velvet Revolver), Robert DeLeo (Stone Temple Pilots), Stevie Salas (Mick Jagger), Mike Mangan (The Cult), and Paul Ill (Alicia Keys).
Every participating artist donated their time and talent in support of Adopt the Arts Foundation and its mission to restore and sustain music education in underserved public elementary schools.
“I never went into that night thinking we were making a record,” said Matt Sorum. “I originally had the show recorded and filmed because I wanted to preserve the experience for myself. But when I listened back, I realized we had captured something truly magical—the energy in the room, the performances, and the spirit of all these incredible artists coming together for the kids. Through Experience Vinyl, we had an opportunity to turn that moment into something people could hold onto while raising meaningful support for music education.”
The initial pressing will be limited to 2,000 double-vinyl albums, priced at $99.98. Sound & Vision is available to pre-order here.
Of the total pressing, 250 Plaza Theatre Collector’s Editions will be available for the September 13 Record Release Celebration. Pressed on color vinyl, these collectible editions feature artwork unavailable on the standard online release.
The remaining albums will be available exclusively through Experience Vinyl, with the official pre-sale beginning August 3, 2026.
Experience Vinyl is donating its services so that proceeds from album sales directly benefit Adopt the Arts Foundation. Philanthropic supporters also provided the funding necessary to mix, master, and complete the album and companion concert film.
“Experience Vinyl is about preserving the moments in music that deserve to live beyond a single night,” said Seth Frank, Founder of Experience Vinyl. “From the performances to the purpose behind them, Sound & Vision Live is exactly the kind of project we want to help bring into the world. We are proud to donate our work and platform so that proceeds directly support Adopt the Arts and help provide children with access to music education.”
The album was recorded by Kemble Walters and Miguel Sosa, mixed by Walters at Goodnoise Studios in Palm Springs, and mastered for vinyl by Grammy-winning mastering engineer Howie Weinberg and Will Borza.
Internationally acclaimed photographer and creative director Glen Wexler created the album artwork and liner notes. The deluxe package features archival photography, original artwork, and extensive liner notes celebrating the performances and the enduring legacies of Paul Rodgers and Geezer Butler.
The project was made possible through the generous support of Executive Producers Jackie and Joby Pritzker and Co-Executive Producers Dale Lawrence, James Malachowski, and Sam Senigaglia.
More than a celebration of rock history, Sound & Vision Live helps create the next generation of musicians.
Founded in 2012 by Matt Sorum and Emmy Award-winning actress Jane Lynch, Adopt the Arts Foundation restores and sustains music education in underserved public elementary schools.
Today, the Foundation serves more than 4,000 students annually throughout Los Angeles and the Coachella Valley by providing music instruction, instruments, curriculum, teacher support, artist mentorship, and meaningful performance opportunities.
“Every artist who stepped onto that stage understood why we were there,” Sorum said. “We came together to celebrate two legends, but the real encore is every child who discovers music because of this record.”
Sound & Vision Live Information:
Format: Limited-edition all-star double vinyl album
Pressing: Limited to 2,000 copies
Price: $99.98
Pre-Sale Begins: August 3, 2026
Record Release Celebration: September 13, 2026
Online Availability: Exclusively through Experience Vinyl
Beneficiary: Adopt the Arts Foundation
The post Rock & Roll Hall of Fame Legends PAUL RODGERS & GEEZER BUTLER Honored On A Limited-Edition All-Star Double Vinyl “Sound & Vision Live” appeared first on Sonic Perspectives.
These days, one of the few obvious ways that a band or an artist can level up and achieve a new measure of mainstream fame is by getting booked as a musical guest on Saturday Night Live. When Geese or Dijon or, hell, Sombr makes an SNL debut, that’s a sign that they’ve reached a new pinnacle. Even if people hate them, they at least notice them. For many years, a guy named Brian Siedlecker has booked every musical guest on SNL. No longer.
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All but the most blindly optimistic Deep Purple fans had given up hope of the band ever reuniting with former guitarist Ritchie Blackmore. But it looks like that’s exactly what is going to happen after Blackmore took to Instagram to drop the bombshell that he was planning on joining Deep Purple onstage at the hard rock veterans’ gig in Wantagh, New York tonight (August 12),
“I sent my A.I. pigeon to [Purple singer] Ian Gillan in Portugal, where he lives at the moment,” Blackmore said. “And I said, How would you feel about if I got up just for an encore? Just one of the songs. I don’t want to intrude. And I said, No pressure – just kind of [for] old times’ sake.’ I’m 81 now. So he seemed to love the idea, put it to the band, got a thumbs up, and it looks like we might be doing that.
If Blackmore makes good on his promise, it will be the first time he’s played with Purple in more than 30 years. The two parties have been bitterly estranged since the guitarist quit following a gig in Helsinki in November 1993, during the tour in support of that year’s aptly titled The Battle Rages On… album. The subsequent decades have done little to thaw icy relations between Blackmore and the rest of Purple, making a potential reunion one of the most unexpected about-turns in recent decades.
Blackmore’s history with the band he co-founded in 1968 has been turbulent, to put it mildly. He quit Purple for the first time in 1975, expressing his disappointment in the funkier direction the group had gone in with the previous year’s Stormbringer album. Following a successful reunion of the fabled Mk II line-up in 1984, old tensions between the guitarist and Gillan resurfaced, prompting the latter to leave in 1989.
After a stint with ex-Rainbow frontman Joe Lynn Turner that saw the band’s fortunes decline, Purple’s label suggested that Gillan – who had relaunched his solo career to little public interest – rejoin his former bandmates. Neither Blackmore nor Gillan were happy with the suggestion, but both agreed to attempt to patch up their differences.
“Ritchie is not someone you make up with in a conventional sense,” Gillan later said. “We’re both stubborn bastards. He’s a genius. I’ll always respect his talent, just don’t ask me to go on holiday with him.”
“You’ve got to know Ian to figure out what his personality is,” Blackmore said in 1997. “It takes a while because he’s an astute man, very clever. He’s got this strange psyche; a strange obnoxious side to him which is a side I don’t like.”
They managed to park their dislike of each other long enough to record The Battle Rages On…, which was finally released in July 1993 following a painful 10-month gestation period. The critics were sniffy – it’s subsequently been dubbed ‘The Cattle Grazes On’ – and the public weren’t interested.
Neither man was happy with the situation, viewing the recording of the album (eventually titled, with deliberate irony, The Battle Rages On…) as a necessary evil. It was apparent that both of them would rather be anywhere than spend time in the other’s company. Stateside sales of just 50,000 meant an entire 20-date North American tour was pulled. Purple finally hit the road in September 1993, kicking things off in Italy. Soon afterwards, Blackmore decided that enough was enough.
“I’d sent them a letter, within two weeks of getting on the tour, saying that I was leaving,” he said in 1997, adding that his decision was prompted by the failure to promote the first single from the album, Anya. “That’s what started the ball rolling for me to be pissed off with the whole thing.”
Purple kept the forthcoming split secret from the public, but behind the scenes Blackmore fumed. At the Birmingham NEC on November 9, things soured. To the guitarist’s annoyance, the gig was being filmed. He took umbrage at the fact there was a cameraman between him and the audience, and refused to join the band as they began opener Highway Star, leaving them to play it as a four-piece. After being told the cameraman had gone, Blackmore was persuaded out in time to play his solo – only to spot the offending lensman on the other side of the stage.
“I ran around to the guy with the camera, picked up a glass of water and threw it in the lens so then I knew he had to back off,” Blackmore recalled. “And, sure enough, he did, but I was so angry because the whole thing was such a fiasco.” The gig was recorded for posterity on the live concert film and album, Come Hell Or High Water, released 11 months later.
The guitarist’s commitment to the band had clearly waned by the time he played what would be his final show as a member of Deep Purple, on November 17, 1993, at Helsinki’s 8,000-capacity Jäähalli. Gillan later admitted that a bitter row followed in the dressing room, adding only that what happened there was “deeply personal”. “The problem was that Ritchie thought that what the band had was down to him – but it wasn’t,” he did offer. “He was only a fifth of it.”
The band recruited US hotshot Joe Satriani, who was enlisted to fill in on a six-date Japanese tour at the end of 1993. Satriani was only a temporary fill-in – the guitarist’s spot would be taken full time by former Dixie Dregs man Steve Morse and, subsequently, Northern Irish hotshot Simon McBride.
And Blackmore? He relaunched Rainbow before turned his attentions to the medieval music he loved. Deep Purple, it seemed, were buried deep in his past, never to be revisited – until now.
“It’ll be good to see the old guys again,” he said of his mooted appearance with his former band. “I just thought it might be an idea to let a few people know, cos I think a lot of people would like to see that. So hopefully my guitar stays in tune, and I can play whatever song is going to be played.”