Good Day Noir Family,
Hovercraft’s Blown Away is an album that thrives on motion—city-night motion, head-full-of-thoughts motion, and that raw creative momentum that defines artists who refuse to stay in one lane.

Blown Away is Hovercraft’s Album Out Now

 Each track moves with its own personality, yet the whole record feels tightly connected by a sensibility that mixes retro grit, indie swagger, and a fearless approach to arrangement.

“Indie Kid” opens the album with a rush of rock energy. The guitars hit with the urgency of a late-night escape, and the vocal delivery—seductive yet sharp—pushes the track forward with confident ease. Because of this combination, the song instantly pulls you into Hovercraft’s world: restless, stylish, and driven by a desire to move. The track feels tailor-made for driving fast through neon reflections, carrying that mix of nostalgia and adrenaline.

“Superman” follows with a different flavor, yet it keeps the intensity high. Here, psych-rock textures blend with a relentless rhythm section, creating a pressure that never lets up. The production has a slightly vintage edge—gritty without losing clarity—and the retro touches give the track real attitude. The vocals cut through with conviction, matching the band’s muscular instrumentation. It’s a track that plays with tension and release, but never loosens its tight grip.

With “Pass The Night Nurse,” the album shifts gears again. Brass accents open the song with flair, almost as if a big-band spirit crashed into an indie rock session. This unexpected intro adds charm, and the track quickly settles into a groove that is upbeat, cheeky, and loaded with personality. The rhythm keeps things moving, and the band proves they’re unafraid to take stylistic risks.

“Killer Blues” stands out immediately. The atmosphere leans darker, slower, and more hypnotic. The vocal timbre here recalls some of Wet Leg’s cool detachment, yet Hovercraft gives it a unique twist—dreamy but grounded, hazy but intentional. The track floats between blues, indie rock, and something more shadowed, creating a liminal mood that stays with you. Because of its suspended tension and quietly seductive pacing, it becomes one of the album’s highlights.

The album’s lounge-adjacent moment arrives with “Now You’re God / Dying Comes So Easy.” Its bassline walks with confidence, almost funky in its motion, while the verses feel relaxed and smoky. Gradually, the chorus expands into something more emotional, adding unexpected depth. This shift shows how well Hovercraft handles dynamics, allowing the track to breathe without losing direction. Additionally, the vocal interpretation here is especially strong, balancing restraint and intensity.

“Concrete Hill” closes the album on a high note. A killer bassline kicks the song off, driving the track with a kinetic pulse. The arrangement builds with precision, layering rhythm and melody in a way that pulls you onto the dance floor—or at least makes your foot move without permission. The groove is infectious, and the chorus flashes with color. By the end, Hovercraft proves once again that they understand how to create energy without sacrificing sophistication.

Blown Away is a varied album, yet it remains cohesive thanks to its smart writing and confident execution. Hovercraft blends indie rock, blues-shaded moods, psychedelic touches, and retro accents into a record that feels adventurous but polished. Every track contributes something distinct, and together they form a journey that keeps you locked in until the closing note.

Blown Away is Hovercraft’s Album Out Now!

Electric!

Named after Britain’s abandoned hovercraft experiment—visionary yet inherently unstable—the project pieces together the only surviving remnants of Charlie’s 1995–96 output. These songs existed not in curated archives, but in cardboard boxes stacked in spare rooms and lofts, mirroring a young artist whose ideas always drifted between revelation and warning.

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Good Day Noir Family,
“Kneel” opens with a piano pattern that feels fragile and foreboding, as if the first frame of a dark fantasy film has just faded in.

Kneel is MikroBrute’s Single Out Now

The tone is immediately immersive, yet the arrangement stays spacious enough to let the emotion breathe.

Soon after, an angelic female voice enters, carrying a purity that contrasts beautifully with the tension rising underneath. Her delivery has a sincerity and intensity that recalls early 2000s alt-goth acts, although she never imitates. Instead, she shapes the melody with a graceful confidence that guides the song forward.

As the track progresses, the band lets the piano dissolve into an instrumental void, giving her voice the freedom to sit front and center during the verse. This moment of restraint works extremely well. It adds vulnerability without sacrificing momentum, and it allows the shift into heavier territory to feel even more dramatic. When the guitars finally strike, they land with weight—thick tones, a steady cadence, and a sense of inevitability, almost like a battalion advancing through fog. The progression carries a shade of fantasy-metal influence, yet the band uses it tastefully, avoiding anything excessive.

Because of that careful balance, the chorus hits with real strength. The vocal melody rises with conviction, while the instrumental section grows wider and darker, building a cinematic tension that suits the track’s themes. The blend of soaring vocals and heavy riffing feels intentional, not indulgent, making the emotional arc clear and engaging. Additionally, the rhythmic changes between sections add interest without disrupting the overall flow, showing that MikroBrute values structure as much as atmosphere.

Midway through the track, a brief instrumental break acts as a breath—mysterious, eerie, and slightly futuristic. It leads into a guitar solo that lifts the song into its final climb. The phrasing is expressive rather than showy, adding texture rather than dominating the mix. When the final chorus returns, it feels earned, as if the listener has been carried through an entire journey in just a few minutes.

“Kneel” succeeds because it merges fantasy-metal aesthetics with emotional nuance, crafting an experience that feels vivid, intense, and surprisingly elegant.

Kneel is MikroBrute’s Single Out Now!

Ascending!

MikroBrute, an emerging artist from Sligo, Ireland, steps confidently onto the scene with the release of the original single “Kneel.” Produced independently, the track grew from an indie idea into a melodic metal piece, strengthened by the contributions of session musicians who added guitars, drums, and vocals. The result is a powerful introduction to an artist creating without boundaries or fixed influences.

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Good Day Noir Family,
“Thrones of Dust” arrives with a sense of urgency that hits you instantly.

Thrones of Dust is WHITEFIRE’s Single Out Now

A heavy, driving guitar riff surges forward like a steel engine, carving the atmosphere open and announcing a track that is clearly built with intention.

Yet the aggression never feels empty, because WHITEFIRE balances weight with emotion in a way that gives the song a surprising depth.

Very quickly, the vocal line enters and shifts everything again. The voice has an ethereal glow, but it also carries strength, offering a melodic contrast that lifts the entire piece and pushes it toward something larger than a standard metal cut.

The rhythm section becomes a decisive anchor. The drums lock into a powerful pattern that fuels the intensity without overwhelming the melody. Meanwhile, the bass moves with purpose, giving every section a firm spine. Because of this solid foundation, the guitars are free to rise, twist, and punch through the mix with sharp definition. The production is extremely clean, allowing each layer to occupy its own emotional space.

Furthermore, the songwriting stands out. The chorus expands in a way that feels dramatic and uplifting. Even though the track is aggressive, there is a current of hope running through it. The melodic choices show a sense of purpose, suggesting that the artist is expressing something deeply personal. “Thrones of Dust” seems to pull from scars, survival, and transformation, turning heavy experiences into fuel rather than despair.

The bridge introduces an energy shift that elevates the final section, and the return of the main riff hits twice as hard because of that contrast. Moreover, the pacing keeps the tension alive from start to finish, never losing focus.

WHITEFIRE delivers a song that is intense, cinematic, spiritual, and genuinely stirring. The emotional fire behind it feels real, and because of that sincerity, “Thrones of Dust” lands with impact. It’s metal with a purpose—ferocious, reflective, and undeniably alive.

Thrones of Dust is WHITEFIRE’s Single Out Now!

Ascendant!

Rooted in loss, faith, and the search for truth, WHITEFIRE creates music born from a season that nearly broke him. After stepping away and facing the deepest pain of his life—including the loss of his son—he returned with a renewed sense of purpose. His sound blends cinematic rock, heavy emotion, and spiritual depth, confronting struggle, corruption, and the tension between darkness and truth. Every song serves as a reminder of hope and the kind of fire that refines rather than destroys.

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Good Day Noir Family,
“Blue,” the new single from Space Memory Effect, feels like opening a window onto a familiar world painted with fresh colors.

Blue is Space Memory Effect’s Single Out Now

The duo of Amy Susan Wallace and Trevor Lewington tap into a musical language that recalls the sincerity of ’90s alternative rock while shaping it into something distinctly their own.

The first guitar tones drift in with a warm nostalgia, carrying echoes of Collective Soul and the atmospheric shimmer of the Cranberries, yet the track never falls into imitation. Instead, it builds a mood that is reflective and quietly uplifting.

As the song forms its structure, the guitars begin to stretch outward, taking on textures reminiscent of The Edge—delayed, glistening, and spacious. These touches add dimension without overwhelming the arrangement. Because of this balance, the rhythm section maintains a steady pulse that supports the emotional direction of the track. The result is a song that feels perfectly suited for long drives, late-night thoughts.

Amy Susan Wallace’s voice is the anchor. Her tone is unmistakable—soft but steady, emotional without ever turning theatrical. She carries the melody with natural ease, shaping each phrase so it lands with clarity. Her timbre has that rare quality of being instantly recognizable, which gives “Blue” a personal center even as the music expands around her.

Meanwhile, Trevor Lewington’s arrangement choices show real sensitivity to the lyrical weight. He builds a sonic skeleton that leaves space where space is needed, yet introduces subtle harmonic shifts that keep the listener engaged. Small details—a guitar swell here, a rhythmic change there—help the track grow with intention. It’s clear the duo understand how to create emotion through restraint and how to guide a listener without forcing anything.

The chorus widens the song’s horizon. The melodic lift is simple but effective, and the contrast between verse and chorus creates a sense of movement that fits the theme of introspection. Because of this, the track feels alive, always evolving without losing its central thread. The production is clean and thoughtful, allowing every element to breathe.

“Blue” is not only a well-written track; it’s a snapshot of a duo whose creative chemistry feels natural and fully formed. The song carries emotion, grit, and atmosphere in equal measure, offering a listening experience that encourages escape while keeping you grounded in its melodic warmth.

Blue is Space Memory Effect’s Single Out Now!

Radiant!

Amy Susan Wallace is the voice and creative force behind Space Memory Effect. Based in the greater Seattle area, she collaborates with producer Trevor Lewington, who works from just outside Toronto, Ontario. Together, they’ve shaped Space Memory Effect into a genre-blending project that seamlessly merges elements of pop, rock, and folk into a vivid and expressive musical identity.

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Rock N’ Roll Colouring has announced the first official coloring book from Sleep Token. Featuring iconic artwork and instantly recognizable images, all printed on high-quality paper in a square format, these amazing designs are officially licensed and fully endorsed by Sleep Token. They have the potential for hours of satisfying coloring. The book invites you to delve into the enigmatic imagery of Sleep Token’s latest groundbreaking album, Even In Arcadia, a No. 1 album in both the U.K. and the U.S.

The book contains painstakingly created renderings of each image with detailed outlines ready for you to unleash your artistic skills using pens, pencils, or paint. Utilizing artwork from the latest album alongside iconic renderings of Vessel, as well as specially created unique mandalas, the book provides fans with the perfect opportunity to add their own personal stamp on Sleep Token‘s complex and creative world.

The staggering phenomenon of Sleep Token has been growing steadily over the course of four incredibly daring, genre-defying albums, culminating in this year’s career high, Even In Arcadia, released via major label RCA.

A headline appearance at the Download festival this summer drew one of the biggest crowds to the event in recent years, while the band was recently nominated for two Grammy Awards. Steeped in symbolism and mystery, the band refuses to give interviews and blends post-rock, metal, pop, soul, and electronica to create a unique sound that has propelled modern rock music forward at a lightning pace. Sleep Token fans, known collectively as “Followers”, revel in the band’s secrecy and hidden meaning, often wearing masks and costumes similar to the band themselves.

Devised and created by two lifelong rock and heavy metal devotees and coloring book fans, Rock N’ Roll Colouring was formed by fans for fans. Every effort has gone into making sure this book does justice to the vision of Sleep Token and their vivid iconography, bearing witness to one of the charismatic and innovative bands of the moment.

Coloring has proven significant mental health benefits, including mindfulness, relaxation, and increased focus, and can be enjoyed by any age group. These books provide hours of creative and restful activity that combines the love of music with the love of the arts.

The Sleep Token book follows on from the previous Rock N’ Roll Colouring releases from heavy music icons such as Iron Maiden, Alice Cooper, Motörhead, Judas Priest, Cannibal Corpse, Thin Lizzy, and Megadeth.

The book is published on December 5, available for worldwide shipping, and can be ordered via Eyesore Merch. A limited number of the books will be available with an exclusive print featuring a color render of a specially created mandala image taken from the book.

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It’s not at all weird that one of the most exciting bands to have come to my attention in the past decade is releasing an orchestral live album almost immediately after Moonspell did. Many things set Persefone apart from Moonspell and their ilk (their uplifting lyrical content among them), but the most obvious distinction is Persefone’s head-spinning complexity. To say that I was eager to hear how a band I’ve often described as “tech-death for yoga nerds” would meld with the Orquestra Nacional Clàssica D’Andorra would understate my anticipation by a margin wide enough to comfortably seat said orchestra.

It’s Persefone’s very impenetrability that limits what conductor Albert Gumí and concertmaster Pere Bardagí are able to arrange; a band with as many time changes in a song as I have follicles on my face will present a monumental challenge even to the most accomplished arrangers. Their noble efforts are nearly imperceptible during much of Persefone’s metric madness, which is where I was most anxious to hear their work.

However, it’s during Persefone’s more meditative moments,  as on the instrumental break and interlude during “Stillness is Timeless” and the interlude to “Prison Skin”, where the ONCD is actually noticeable, accented strikes notwithstanding. In fact, it’s only towards the end of the set, during “The Great Reality,” where we hear the orchestra adding sounds and moods to Persefone’s heavier material. When it happens, though, it becomes clear that it fucking works.

This is where more moderately paced songs like “Kusanagi” and “One Word” come in. While the band’s signature suffocating rage leaves very little room for breathing, comparatively mellow cuts like this one actually have room for the orchestra to add dimension to what’s already there. We also hear this on the stellar “Merkabah” and the mostly-crushing “Living Waves,” though Persefone continues to make the baffling decision to pipe in Paul Masvidal’s robo-tuned vocals even though they now have two plenty-capable clean singers in their ranks. This very song, in fact, boasts both longtime keyboardist Miguel Espinosa and newish frontguy Daniel Flys singing fucking perfectly together while the ONCD adds unnerving beauty to one of the more succinct moments in this band’s intimidating discography.

This, y’all! This is what I was hoping to hear throughout! While the set’s heavier moments certainly do not suffer from the orchestra’s relegation to the background, it’s on songs like these – especially “Kusanagi” – where hearing the band and the orchestra truly work in tandem takes the listener places where these two prodigious ensembles somehow couldn’t do on their own. That’s some fucking teamwork right there. And the actual strings doing what Espinosa’s synths had previously done on “Flying Sea Dragons” and the “Spiritual Migration” outro? Fucking perfection.

As daunting a challenge as Gumí and Bardagí face here, and as smoothly as it works, Live in Andorra amounts to a terrifyingly accomplished band playing their own songs almost completely by the book, with the odd orchestral flair, flawlessly executed with formidable aplomb, but only occasionally adding to what was there already.

Unless viewed as a live “best-of” compilation that somehow omits “Spiritual Migration,” Live in Andorra is a marvelous performance that only diehard Persefone fans really need in their collections. (I’m getting mine on vinyl the moment it becomes available).

Release Date: December 5th, 2025
Record Label: Napalm Records
Genre: Progressive Metal

Musicians:

• Daniel Rodríguez Flys / Vocals
• Sergi Verdeguer / Drums
• Toni Mestre Coy / Bass
• Carlos Lozano Quintanilla / Guitars
• Filipe Baldaia / Guitars
• Miguel Espinosa / Keys, vocals

Live In Andorra Track-list:

1. Sounds and Vessels
2. One Word
3. The Equable
4. Stillness is Timeless
5. Prison Skin
6. Cosmic Walkers
7. Living Waves
8. Kusanagi
9. Leap of Faith
10. Merkabah
11. The Great Reality
12. Flying Sea Dragons
13. Mind As Universe
14. Outro

Order the album here.

The post PERSEFONE –  Live In Andorra (Album Review) appeared first on Sonic Perspectives.

Avenged Sevenfold has unveiled the official Black Ops interrogation room VR 360° video for their new song “Magic,” tied to Black Ops 7 Season 1—described as the franchise’s largest seasonal content release to date.

The massive update rolls out a wide slate of additions, including fresh and revamped maps, new modes, weapons, scorestreaks, limited-time events, perks, gameplay changes, skins, and bundles. One of the standout features is the new Astra Malorum Zombies map. To unlock Avenged Sevenfold’s track, players will need to complete the map’s main Easter egg and make it to Mars.

Commenting on the “Magic” video — created by Ryan McKinnon in Unreal Engine — Avenged Sevenfold said:  “Use the official YouTube VR app and 8K headset for the best viewing experience. You can also explore the full scene interactively on your phone or desktop by dragging your finger or mouse to look around.”

“Magic” arrives on all platforms December 6.

Back in 2018, Avenged Sevenfold released an EP featuring four songs they wrote and recorded for the Call Of Duty: Black Ops universe. Frontman M. Shadows explained to Kerrang! that the band wanted to give those tracks a dedicated home rather than having them scattered across streaming platforms: “We just felt these songs needed a place to live, instead of being scattered all over streaming services. We will also be releasing ‘Jade Helm’, which is the multiplayer score we did for ‘Black Ops 3’. Until now, that has only been available on YouTube and in the game.”

That EP also included a new Avenged Sevenfold song that had been teased in a leaked trailer for Call Of Duty: Black Ops 4. M. Shadows described the track as dark and atmospheric, aimed at capturing a different vibe than a straightforward “zombie killer” anthem. He added that these game-related releases gave the band space to experiment, placing the song more in a “dark alternative” lane.

Over the years, Avenged Sevenfold have contributed music to multiple entries in the series and even made a virtual appearance in the second Black Ops, where they performed “Carry On” in an epilogue sequence after the end credits.

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From Ashes To New — Danny Case (vocals), Matt Brandyberry (vocals), Lance Dowdle (guitar), Maty Madiro (drums), Jimmy Bennett (guitar) — is wrapping up 2025 with the release of a visceral new song, “Drag Me”, via Better Noise Music. Watch the visualizer for the track below.

“We wanted to create a song about feeling trapped in a war with yourself, when your inner demons pull harder than your better intentions can push,” says Brandyberry. “Every good thought gets buried beneath the bad, and you start to realize the real fight isn’t against the world, it’s against the reflection staring back at you. ‘Drag Me’ came from that place…the feeling of being pulled straight into hell by the parts of yourself you could never escape.”

The sonically intense and lyrically harrowing “Drag Me” is the follow-up to “New Disease”, which was released July 25 via Better Noise Music and marked From Ashes To New‘s first new offering since “Live Before I’m Dead (Hours)”, one of the six bonus tracks that appeared on the June 2024 release of the Blackout (Deluxe) album.

From Ashes To New has already made its mark as a hugely successful band with a No. 1-charting album — 2023’s Blackout (Better Noise Music) — which landed the No. 1 spot on several iTunes and Spotify Rock and Metal charts across the globe. Artistically, the Lancaster, Pennsylvania outfit has made an impact with a distinctive amalgam of alt metal combined with songs that bracingly capture their generation’s anxieties.

Blackout was an important statement for From Ashes To New, acting as a prequel to the band’s 2016 debut album Day One. Garnering over 310 million lifetime global total streams, including nearly 20 million video streams, the album mirrored the angst and unrest the world felt during the 2020 pandemic, at which time it was written, while delivering a fresh spin on their myriad influences that broke From Ashes To New onto the scene. 

Blackout garnered various critical accolades, including Mxdwn, which proclaimed that it’s “melodic, emotive and undeniably powerful,” while Knotfest raved: “There’s an exciting immediacy to their sound that recalls the music renaissance of the late ’90s and early 2000s… It’s that sweet spot of mass appeal where there’s a little something for everyone, be it From Ashes To New‘s heavier metallic side, or their arena-sized choruses.”

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Today, metal titans Kreator have unleashed “Satanic Anarchy,” the brand new single from their highly anticipated sixteenth full-length, Krushers Of The World, which will be out on January 16 via Nuclear Blast Records.

The song bears all the hallmarks of Kreator‘s best material of the last few decades — fast-paced thrash riffs, a catchy, anthemic chorus, and a masterful guitar solo — all wrapped into three-and-a-half minutes. 

After paying homage to Dario Argento’s cult horror classic Suspiria with their last single “Tränenpalast” and its corresponding video, Kreator further prove their affinity for the horror genre by referencing another classic movie in the music video for “Satanic Anarchy.” Released 10 years after Suspiria, Clive Barker‘s Hellraiser (1987) is known for being just as influential and groundbreaking for modern horror by combining intense psychological thrills with graphic gore.

Mille Petrozza comments, “Hordes! I hope you’ll like our brand new video for the song ‘Satanic Anarchy’ off our new album Krushers Of The World. The lyrics speak about a divine revolt of the mind: Breaking the spell of obedience, standing together against tyranny, and igniting change where fear once ruled. The narrative part of the video takes us back to the cinematic masterpiece Hellraiser by the great Clive Barker, This isn’t a remake or a sequel — it’s an echo. A tribute to the raw imagination of ’80s horror, where pleasure, pain, and chaos shared the same key. Enjoy!”

Pre-order/Pre-save Krushers of the World here.

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NMB announce their fifth studio album ‘L.I.F.T.’ for release in February 2026; first single ‘Fully Alive’ out now

For over a decade, NMB has stood as one of progressive rock’s most enduring and unified collectives. With their latest studio album L.I.F.T., set for release on the 27th February 2026, Neal Morse, Mike Portnoy, Eric Gillette, Bill Hubauer, and Randy George return with a work that embodies vision, passion and inspiration . Written and recorded during a period of major transition, L.I.F.T. captures the band’s creative chemistry at its most instinctive and inspired.

To coincide with this announcement, the band has launched the first single from the album, and you can watch the video for ‘Fully Alive’ (directed by Industrialism Films) now here: https://youtu.be/rk-ZJFGbfUo

Conceptually, L.I.F.T. stands toe to toe with NMB’s greatest works like their much-acclaimed concept album “Similitude Of A Dream”, combining emotional depth with the band’s trademark progressive rock grandeur. “In short, L.I.F.T. is a prog concept album that follows the journey of someone seeking to belong to something greater than themselves” Morse explains. “It starts with feeling connected to the world and life, then there is a break in belonging, after which comes the turmoil and desperate cry, leading to a return to that place of profound connection.” 

The album title came late, though its meaning remains intentionally vague. “We thought it could stand for different things,” says Randy. “It’s kind of whatever the listener wants it to be.”

True to the band’s collaborative spirit, L.I.F.T. began with the usual whiteboard full of ideas, with columns under each member’s name filled with riffs and snippets. However, few of them made it onto the final album. “We hardly used any of the ideas on the board,” says George. “Most of it was written right there in the room, more so than in the past.” While Bill Hubauer contributed a few early sketches, and Morse improvised piano pieces that evolved into key themes, much of the music took shape spontaneously.

The sessions were engineered by longtime collaborator Jerry Guidroz, with all drum tracks recorded on-site before each member continued working individually from home studios. For the first time, NMB worked entirely outside their familiar recording environment, at Eric Gillette’s studio in Tulsa, adding a layer of uncertainty to the process. “It was strange not being in the usual studio,” George admits. “But hearing the final mixes, it all came together beautifully.”

Mixing once again fell to longtime collaborator Rich Mouser, who has been refining NMB’s complex sound for years. As George explains, the band sends him the tracks and lets him work independently: “We just let him do his thing.” Despite the enormous amount of detail in the arrangements, Mouser once again delivered a mix where “everything lives.” The drums, in particular, stand out. Mouser will experiment by removing or combining elements “to see what it sounds like if this isn’t there.” The result is another brilliant showcase of the band’s trademark sound.

L.I.F.T. is everything the NMB fan could hope for and will surely live on in the great canon of the band’s outstanding career as one of their best.  

With artwork created by longtime collaborator Thomas Ewerhard, the ‘L.I.F.T.’ will be available as a Limited 2CD Digipak (incl. instrumental versions), Standard CD Jewelcase, Gatefold 2LP & as Digital Download. Pre-order now here: https://nmb.lnk.to/L.I.F.T.-Album

The full track-listing is as follows:

1.     Beginning 06:48

2.     Fully Alive 05:02

3.     I Still Belong 03:32

4.     Gravity’s Grip 02:03

5.     Hurt People 08:05

6.     The Great Withdrawal 05:08

7.     Contemplation 02:20

8.     Shame About My Shame 05:50

9.     Reaching 07:32

10.  Carry You Again 05:02

11.  Shattered Barricade 01:25

12.  Fully Alive Part 2 06:18

13.  Love All Along 11:18 

NMB online:
https://nealmorse.com/

https://www.facebook.com/TheNealMorseBandOfficial/

https://www.instagram.com/thenealmorsebandofficial/?hl=en

INSIDEOUTMUSIC online:
www.insideoutmusic.com
www.youtube.com/InsideOutMusicTV
www.facebook.com/InsideOutMusic
www.twitter.com/insideouteu
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