Category: news

  • Alissa White-Gluz’s Blue Medusa Drop Their New Single “Checkmate”

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    A little more than a week after unveiling her solo band’s name was Blue Medusa, ex-Arch Enemy vocalist Alissa White-Gluz and company released the band’s new single, “Checkmate”. Written by White-Gluz and guitarists Alyssa Day and Dani Sophia, the track apparently marks a “powerful evolution in both sound and creative vision.”

    White-Gluz spoke directly about the new track, sharing how it had just seemingly fallen into place.

    “This is a song where everything just clicked. ‘Checkmate’ is an extremely cathartic song for me. It was created in one of those flow states where the lyrics and melodies and rhythms just write themselves and you get the feeling that you’re onto something powerful. It’s probably the heaviest thing I’ve written in terms of lyrics, and probably the lightest of what we have cooking in terms of sound. I wanted to share the intensity of these feelings with fans and give them something to hold onto. I’m so happy to see so much support for Blue Medusa already; fans can look forward to more dark, heavy, brutal and haunting music very soon.”

    The accompanying music video was co-directed by White-Gluz and Vicente Cordero, of Industrialism Films. With a direct hand on the video’s final product, White-Gluz said she had a pretty good idea of what she wanted the video to be when working on it.

    “I know what every frame is for. I’ll share that someday, but for now, I welcome fans to dive deeper into the meaning and develop their own interpretations. That’s what makes videos and movies fun and interesting, in my opinion.”

    As of this moment, we don’t know of any album plans for Blue Medusa, nor do we know of any tour plans other than their planned appearances on Louder Than Life and Aftershock. All we can do now is wait for more details.

    The post Alissa White-Gluz’s Blue Medusa Drop Their New Single “Checkmate” appeared first on MetalSucks.

  • Ethereal Darkness – Echoes Review

    Way back in the year before the Great Plague, I took a chance and reviewed an unheralded, self-released album by a one-man band from Belgium called Ethereal Darkness. We received the promo from the AMG contact forms without fanfare or fluff, but what I heard on Smoke and Shadows really impressed me. Project mastermind Lars created a monumental slab of melancholic, melodic doom in the vein of Insomnium, Rapture, and Before the Dawn, and the material had depth, power, and gravitas. It seemed like the work of a seasoned and polished group of musicians despite some rough edges. The years have drifted by since that review, and I’d all but given up Ethereal Darkness for dead. Imagine my surprise when Lars reached out recently to alert me to the pending release of his second album, Echoes. 6 years on, the solo project is now a full-fledged band ready to tour in support of their latest release. And what a large release it is! At 60 minutes, Echoes takes the style from the debut and goes way bigger, with much longer compositions and greater ambition in the writing. If that’s not big enough, it also features cover art from Adam Burke and a production from Dan “The Fücking Man” Swanö!1 Is bigger better in this case? Can more really be MOAR? And how are these guys still unsigned?? These are the questions of our time.

    It takes ample ballsack to open with a nearly 11-minute song, but Ethereal Darkness do just that with “Gone With the Tide.” If the atmosphere on Smoke and Shadows impressed you, this will knock you into the next multiverse. It’s an epic, sweeping tableau of massive melodoom that holds nothing back as it transports you to majestic forests and towering mountains of snow and ice. It recalls the best works of Be’lakor and Black Sun Aeon, but there’s plenty of Insomnium in the DNA too. The guitarwork is phenomenal, full of sadboi trilling and doomy weight. The death vocals by Lars are very effective, the clean singing by acoustic guitarist Brecht hits the right way, and the lapses into blastbeating blackness are well-timed adrenaline spikes. This is a stupendous song and one of the best so far this year, and it goes by in a flash despite its girth. “The Cycle” continues to maintain the sky-high quality. It’s like a crazy mash-up of Eneferens and modern Amorphis, and you should pay big money for such a potent potable. It’s the kind of song you get lost in and lose track of time, and when you write songs in the 8-10 minute window, this is essential.

    Elsewhere, “Winter” moves toward more blackened environs, channeling Saor and Nechochwen as epic soundscapes are raised and explored. The guitars here are beautifully rendered, and it’s another triumph for this unheralded project. Equally monolithic is “On the Edge of the Cliff,” where the music turns more aggressive and urgent, merging black and melodeath idioms adroitly for maximum impact. There’s an epic Viking metal energy here that makes you want to conquer and rule the weak, and it feels dangerously powerful. Despite so much magnificent opulence and aural decadence, there are some weaker moments. “IV” is very, very good and hints at my beloved Rapture, but it ends up feeling too long at 9:45, and trimming it by a few minutes would have helped. Ginormous closer “Realization” runs over 13 minutes, and despite good to great moments throughout, it’s undone by its sheer width and breadth. In its final minutes, I find it increasingly difficult to stay locked in and attentive. At just over 60 minutes, Echoes can be a daunting listen due to its density and length, but the reward is well worth the effort. I can’t find fault with the Swanö-ified production, as everything sounds lush, gorgeous, and heavy without being loud or oppressive.

    Lars handles guitar, bass, keyboards, and harsh vocals, and to say he did an amazing job across the board doesn’t begin to cover it. There are some big, emotional moments here courtesy of his 6-string heroics, referencing the works of Tuomas Saukkonen without imitating. His deep death roars punctuate the music with force, and his blackened cackles and screams pierce through like lasers. His restrained use of keyboards should be a case study for other acts in the genre. They add atmosphere but rarely rise out of the distant background. Becht provides soothing acoustic guitar passages and clean vocals that deliver pathos and emotion. Peter’s drumming is a vast improvement over the programmed percussion from the debut, imbuing the material with vibrancy and weight. Applause all around for this crew!

    Echoes is a bigger, better album than Smoke and Shadows in every way, with several tracks worthy of Song o’ the Year consideration. The album length and the bloat on a few tracks hold it back from even greater heights, but just barely. This is a sumptuous feast for the ears and mind, and I get the feeling I’ll be spending a lot of time with this over the next few months. Ethereal Darkness are about to get a lot more attention in the metalverse, and they deserve it. Hear this massive monster or be a lesser mortal. Somebody better sign these guys toot-sweet!


    Rating: 4.0/5.0
    DR: NA | Format Reviewed: WAV
    Label: Self-Release
    Websites: etherealdarkness.bandcamp.com | facebook.com/etherealplace | instagram.com/etherealdarknessband
    Releases Worldwide: March 20th, 2026

    The post Ethereal Darkness – Echoes Review appeared first on Angry Metal Guy.

  • System Of A Down Albums Ranked: All 5 Albums Worst To Best

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    System of a Down albums ranked is a five-album list with no bad entry on it, which is the whole problem. Five studio records in seven years, three of them number ones, two of them in the same calendar year, and then a silence that has now lasted longer than the band’s recording career: twenty-one years since the last album, with two protest singles in 2020 as the only new music.

    They filled stadiums across North America in 2025 and Europe this summer, they’re headlining Sick New World, and Daron Malakian still says a sixth album doesn’t feel like it continues the story. So this is the catalogue, complete, ranked and argued. The order is ours. The fight over the top two is yours.

    How We Ranked Them

    Four things decide the order. Long-term impact: did the record change what metal was allowed to sound like, or just sell? Consistency front to back: can you play it without skipping, twenty years on? Replay value: do you still reach for it, or just for the singles? And the argument: how much do fans still fight about where it sits? Chart positions and plaques are in here because they tell you what happened, not because they decide anything.

    One thing to know going in. All five albums were produced by Rick Rubin with Daron Malakian, all five came out on American Recordings through Columbia, and the lineup never changed: Serj Tankian, Malakian, Shavo Odadjian and John Dolmayan on every one. No producer eras, no replacement members, no label switch. What changed was how much of the writing Malakian took over, how much Serj sang versus Daron, and how far the band was willing to push the joke before it turned serious. That’s most of this list.

    Hypnotize (2005)

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    The second half of the 2005 double, released six months after Mezmerize, and the record that made System one of four acts in history, with The Beatles, 2Pac and DMX, to debut two albums at number one in the same year. It sold 320,000 copies in its first week and went platinum. On paper it’s the equal of its twin.

    On the stereo it’s the quieter sibling. Hypnotize feels like a continuation rather than a statement of its own: the pacing is looser, the tempos sit lower, and a few songs take longer to land than anything on the first half. ‘Lonely Day’, Malakian’s ballad, got a Grammy nomination and became one of the band’s biggest streaming songs, which tells you where the record’s strength lies.

    And then there’s ‘Holy Mountains’, about the Armenian Genocide, which is one of the most emotionally charged things the band ever recorded and the reason this album can’t sit any lower than it does. Hypnotize is at five because something had to be, and because it’s the only System album that sounds like the end of something. It was. The band stopped the following year.

    Steal This Album! (2002)

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    The accident. In late 2001, a batch of unfinished Toxicity-era songs leaked online under the fan-made title Toxicity II, and rather than let the bootleg stand, the band finished them properly and released the result a year later, in a sleeve designed to look like a burned CD-R with the title scrawled in marker. It reached number 15 and went platinum, which for a record of outtakes is absurd.

    The sound is the point. Steal This Album! has none of Toxicity’s polish; it’s raw and loose and the sequencing feels like a pile rather than a plan. That’s why it’s divisive. Some fans find it the most fun System record because nothing on it is trying to be a single. Others find it the least cohesive because nothing on it is trying to be an album.

    What it has is songs. ‘A.D.D. (American Dream Denial)’ and ‘Innervision’ hit with Toxicity-level urgency, ‘I-E-A-I-A-I-O’ and ‘Roulette’ are set list fixtures, and ‘Boom!’ got a Michael Moore video and became an anti-war anthem. Among the nu metal bands of its era, nobody else’s B-sides could have charted. It’s at four because it’s a collection, not a record. A great collection.

    System Of A Down (1998)

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    The debut, and the one with no map. Rick Rubin signed them to American after seeing them in Los Angeles, and the first album came out on June 30, 1998, sounding like nothing on radio: Armenian folk melody, hardcore tempo shifts, Serj’s operatic growl-to-croon and a rhythm section that treated time signatures as suggestions. It reached only number 113 on the Billboard 200. It has since gone double platinum.

    ‘Sugar’ is the song, and it’s still one of the band’s defining tracks: unhinged, funny and furious at the same time. ‘Spiders’ was the hint of what was coming, the first time the band slowed down and let Serj sing something beautiful without a punchline. ‘Suite-Pee’, ‘War?’ and ‘P.L.U.C.K.’ are the band at their most hardcore, and ‘P.L.U.C.K.’ put the Genocide on a major-label metal record in 1998.

    It’s at three because the two albums above it took this chaos and sharpened it into something that could fill a stadium. But every idea System ever had is on this record in rough form, and that’s rarer than it sounds. Korn and Deftones both needed a second album to become themselves. System were themselves on the first one.

    Mezmerize (2005)

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    The album that proved Toxicity wasn’t a fluke, four years later and with a different balance of power. Malakian wrote almost everything on it and split the vocals with Serj close to half and half, and the result is tighter, funnier and more pointed than anything the band had done. It debuted at number one with 453,000 copies in its first week, went double platinum, and ‘B.Y.O.B.’ won the Grammy for Best Hard Rock Performance.

    It never lets go. ‘B.Y.O.B.’, ‘Question!’, ‘Cigaro’, ‘Radio/Video’, ‘Violent Pornography’ and ‘Sad Statue’ go by in 36 minutes without one slack moment, and the shifts from thrash to pop chorus to Armenian waltz that sounded like a trick in 1998 sound like a language here. The Iraq War is all over it, and it’s the band’s most political record without ever feeling like a lecture, because the melodies are too good.

    Mezmerize is number two by the narrowest margin on this list. Ask a room which is the best System of a Down album and half of it says this one, and the case is simple: it’s the most consistent System album front to back. It isn’t on top here because the record above it changed the genre, and this one perfected what that record started. Perfecting is a close second.

    Toxicity (2001)

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    Everything lines up. Rubin and Malakian recorded more than thirty songs at Cello Studios in Hollywood and cut it to fourteen, the production gives the band room without losing the weight, and there isn’t a track that doesn’t earn its place. It was released on September 4, 2001, debuted at number one with 220,000 copies the following week, and was still number one when the planes hit. ‘Chop Suey!’ went onto the radio-industry list of songs to avoid that month. It became the band’s biggest song anyway.

    The three singles all reached the Hot 100, ‘Aerials’ went to number one on both rock charts, ‘Chop Suey!’ was nominated for a Grammy, and the album is now certified seven-times platinum in the US. The night before it came out, a free show in Hollywood drew three times the crowd the lot could hold, the police pulled the plug without telling anyone, and the resulting riot destroyed the band’s gear. That’s the level of demand this record walked into.

    What it did, beyond selling, was make a certain kind of music possible: metal that could be absurd and devastating in the same verse, that could put ‘Prison Song’ and ‘ATWA’ and ‘Science’ on one album and have them all make sense. It’s number one because it’s the complete record and the one that moved the whole genre. The Daron Malakian who led a London crowd through a chant this summer is the one who wrote it at 26.

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    What Happens Next: Tours, Side Projects And The Sixth Album Question

    System Of A Down have been a touring band without a new album for two decades, and 2025–2026 has been the busiest stretch of that period. The Wake Up! stadium run with Korn, Deftones, Avenged Sevenfold and Polyphia filled North American stadiums in 2025. Europe followed this summer with Queens Of The Stone Age and Acid Bath. Sick New World 2026 has them headlining in Las Vegas.

    The new music question gets the same answer it has for twenty years. The only post-2005 releases are ‘Protect The Land’ and ‘Genocidal Humanoidz’, released in November 2020 in response to the war in Nagorno-Karabakh. Malakian said in early 2025 that new material doesn’t feel like it continues the story. Serj released a Foundations EP of songs originally written for the band, and has talked openly about the band considering another singer if he can’t commit. When any of that changes, this page gets a sixth entry.

    Where System Of A Down Sit In Nu Metal

    They were filed under nu metal because of when they arrived, not what they sounded like. No rapping, no turntables, no down-tuned sludge; instead Armenian folk, hardcore punk, Zappa and a singer who could do opera. That’s why the catalogue has aged better than almost anything else from the 1998–2005 wave. Linkin Park outsold them; nobody else from that era has five albums that all still get played.

    It’s also why the ranking above is so tight. There’s no Risk, no Results May Vary, no record where the band chased a trend and lost the thread. The worst System album went to number one. Argue with that.

    Full Ranking: SOAD Albums Ranked From Worst To Best

    5. Hypnotize (2005)
    4. Steal This Album! (2002)
    3. System Of A Down (1998)
    2. Mezmerize (2005)
    1. Toxicity (2001)

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    system-of-a-down-sick-new-world

    TL;DR

    • System Of A Down made five studio albums between 1998 and 2005, all produced by Rick Rubin and Daron Malakian, all with the same four members. Three went to number one.
    • Toxicity is number one here: the complete record, the genre-changer, now seven-times platinum. Mezmerize is a close second and the most consistent album front to back.
    • Hypnotize is last because something had to be, and it’s the only System album that sounds like an ending. Steal This Album! is a platinum collection of outtakes, not a planned record.
    • The band is touring stadiums and headlining Sick New World 2026, but the only new music since 2005 is two singles from 2020, and Malakian says a sixth album doesn’t feel like it continues the story.

    FAQ

    How many albums does System Of A Down have?

    Five studio albums: System Of A Down (1998), Toxicity (2001), Steal This Album! (2002), Mezmerize (2005) and Hypnotize (2005). They also released two standalone singles, ‘Protect The Land’ and ‘Genocidal Humanoidz’, in November 2020.

    What is System Of A Down’s best album?

    On this list, Toxicity (2001): it debuted at number one, is certified seven-times platinum, and is the album that moved the genre. Mezmerize (2005) is the closest challenger and, for many fans, the most consistent record front to back.

    Why are Mezmerize and Hypnotize separate albums?

    They were written and recorded as one body of work and released six months apart in 2005 as two halves of a double album. Both debuted at number one, making System one of four artists at the time to have two number one albums in a single year, with The Beatles, 2Pac and DMX.

    Is Steal This Album! a real studio album?

    Yes. It was built from unfinished Toxicity-era songs that leaked online in 2001 as ‘Toxicity II’. The band finished and re-recorded the material and released it officially in November 2002, where it reached number 15 and went platinum.

    Is System Of A Down making a new album?

    Not currently. The band has toured stadiums in 2025 and 2026 and is headlining Sick New World, but Daron Malakian said in early 2025 that new material doesn’t feel like it continues the story. The only new music since Hypnotize is the two 2020 singles.

    Toxicity or Mezmerize? Tell us in the comments and defend it. Follow Loaded Radio for every System Of A Down update, including the day a sixth album finally gets announced.

    The post System Of A Down Albums Ranked: All 5 Albums Worst To Best appeared first on Loaded Radio.

  • Dave Grohl Says He’s Been In 430 Therapy Sessions Since Fathering A Child Outside Of His Marriage

    In 2024, Dave Grohl made an unexpected public announcement: “I’ve recently become the father of a new baby daughter, born outside my marriage. I plan to be a loving and supporting parent to her. I love my wife and my children, and I am doing everything I can to regain their trust and earn their forgiveness.” His band Foo Fighters canceled a headlining festival set, and he stayed out of the public eye until a surprise Nirvana reunion at an LA benefit a few months later. Now, Grohl is talking about it (or maybe talking around it) for the first time.

    The post Dave Grohl Says He’s Been In 430 Therapy Sessions Since Fathering A Child Outside Of His Marriage appeared first on Stereogum.

  • End of Summer Concert Set to Light Up WA’s Ascot Racecourse

    Starr Special Events announces an all‑Australian, all‑star live music celebration

    Ascot Racecourse will come alive with the soundtrack of Australian summers past and present as Starr Special Events proudly presents the End of Summer Concert, a one‑day live music spectacular featuring some of the most iconic and enduring names in Australian music.

    Tickets HERE

    Headlined by ARIA Hall of Fame inductee Daryl Braithwaite, the concert brings together a powerhouse lineup that spans generations, genres, and decades of chart‑topping hits. Set against the open‑air backdrop of Ascot Racecourse, the End of Summer Concert promises a feel‑good celebration of live music, nostalgia, and world‑class Australian talent.

     

    Few artists are as deeply woven into the fabric of Australian music as Daryl Braithwaite. From his rise to superstardom as the frontman of 1970s phenomenon Sherbet, with enduring hits like Howzat and Summer Love, to his hugely successful solo career, Braithwaite’s catalogue reads like a greatest‑hits collection of Australian anthems. His landmark album Edge (1988) topped the ARIA Albums Chart and delivered classics As The Days Go By and One Summer, while The Horses from Rise (1990) became – and remains – one of the nation’s most beloved sing‑along anthems.

    In recent years, Braithwaite has continued to prove his lasting relevance, from releasing new music such as Love Songs to sharing the stage with global stars, including a memorable duet of The Horses with Harry Styles at Sydney’s Accor Stadium. His performance at Ascot Racecourse is set to be one of the defining moments of the End of Summer Concert.

    Joining Braithwaite are Baby Animals, one of Australia’s most successful and loved rock bands. Their self‑titled debut album remains one of the biggest in Australian music history, spending six weeks at number one, achieving eight‑times platinum status, and earning multiple ARIA Awards. More than three decades on, the band’s fire burns just as brightly, delivering timeless tracks like Early Warning, Rush You, and Painless with the same intensity that first captured the nation.

    Photo: Rossco Hunter

    Also taking the stage is Mark Lizotte, better known as DIESEL, a true journeyman of Australian music. With a career spanning decades, multiple ARIA Awards, and a catalogue packed with hits including Tip Of My Tongue, Love Junk, and Come To Me, Diesel’s electrifying live

    Thirsty Merc bring their unmistakable blend of pop‑rock hooks and heartfelt songwriting to the lineup. With fan favourites such as 20 Good Reasons, Someday Someday, and In The Summertime, the band remains a mainstay of Australian radio and live stages, still hungry to extend their legacy.

    Thirsty Merc – Photo: Hunter Brothers Media

    Adding depth and soul to the evening is Wendy Matthews, an Australian music icon celebrated for her expressive, emotive voice and timeless songs. From The Day You Went Away to Token Angels and Let’s Kiss, Matthews’ performances are known for their warmth, grace, and emotional connection.

    Photo: Linda Dunjey

    Rounding out the bill is Jason Ayres, a rising voice blending alternative country, Americana, and rock influences. Known for anthemic melodies and heartfelt storytelling, Ayres brings a contemporary edge to the concert, drawing inspiration from artists such as John Mayer, Ryan Adams, and Keith Urban.

    The End of Summer Concert at Ascot Racecourse is designed as a relaxed yet electrifying outdoor experience—an opportunity for music lovers to come together and celebrate Australian talent under the open sky. With a lineup stacked with hits, history, and heart, Starr Special Events promises a night that will resonate long after the final note fades.

    For ticketing information, event updates, and announcements, stay tuned to official Starr Special Events channels.

    The post End of Summer Concert Set to Light Up WA’s Ascot Racecourse appeared first on The Rockpit.

  • ALISSA WHITE-GLUZ’s New Band BLUE MEDUSA Unveils Music Video For New Single “Checkmate”

    Internationally acclaimed vocalist Alissa White-Gluz returns with “Checkmate,” a striking new single that marks a powerful evolution in both sound and creative vision.

    Beloved for her commanding presence in extreme metal, White-Gluz steps forward here with a renewed sense of freedom, fully embracing the breadth of her vocal range and artistic identity. “Checkmate” showcases a dynamic fusion of melody, heaviness, and razor-sharp precision, delivering a track that is as catchy as it is emotionally resonant. The crushing new single was written by Alissa White-Gluz, Alyssa Day, and Dani Sophia, and mixed and mastered by Kile Odell.

    “This is a song where everything just clicked,” says White-Gluz. “Checkmate is an extremely cathartic song for me. It was created in one of those flow states where the lyrics and melodies and rhythms just write themselves, and you get the feeling that you’re onto something powerful. It’s probably the heaviest thing I’ve written in terms of lyrics, and probably the lightest of what we have cooking in terms of sound. I wanted to share the intensity of these feelings with fans and give them something to hold onto. I’m so happy to see so much support for Blue Medusa already; fans can look forward to more dark, heavy, brutal, and haunting music very soon.”

    Beyond the music, “Checkmate” also highlights White-Gluz’s expanding role as a visual storyteller. Co-directing the music video with Vicente Cordero of Industrialism Films – whom she previously collaborated with on high-ranking videos for “The Wolf You Feed” with Nita Strauss and “I Am a Machine” with Kat Von D – she brings a cinematic, detail-driven approach that elevates the track into a fully immersive experience.

    Built around a unique, outside-the-box concept developed by White-Gluz, the video unfolds within a game of chess, where each move carries deliberate allegory and layered symbolism.

    “I know what every frame is for,” jokes White-Gluz. “I’ll share that someday, but for now, I welcome fans to dive deeper into the meaning and develop their own interpretations. That’s what makes videos and movies fun and interesting, in my opinion.”

    The result is a release that feels both familiar and refreshingly new, bridging the gap between longtime fans of her work and listeners discovering her for the first time. “Checkmate” balances melody with intensity, offering a thought-provoking and emotionally charged entry point into what promises to be a bold new chapter.

    The post ALISSA WHITE-GLUZ’s New Band BLUE MEDUSA Unveils Music Video For New Single “Checkmate” appeared first on Sonic Perspectives.

  • Top 10 Dave Berry Songs

    Born David Holgate Grundy on February 6, 1939, in Woodhouse, Sheffield, Yorkshire, Dave Berry grew up with music in the house because his father, a bricklayer by trade, was also a professional jazz drummer and taught him the instrument. Berry attended Woodhouse County Council School, left at 16, and worked as a welder before moving into music full time. His first group was the Cruisers, and his admiration for Chuck Berry led him to adopt the surname Berry. That decision helped define the public identity he carried into the 1960s when Decca signed him and the Cruisers after he was

    The post Top 10 Dave Berry Songs appeared first on ClassicRockHistory.com.

  • Duane Betts announces “Isle of Hope”

    Duane Betts will release his new album Isle of Hope on June 12 via Sun Records. The project was produced by Grammy Award-winner Dave Cobb and marks Betts’ first release with the label.

    The album arrives during a significant period in Betts’ life and career. Following years of touring and recording as both a solo artist and a founding member of The Allman Betts Band, Betts experienced the loss of his father, Dickey Betts. The album reflects that time, with material shaped by themes of change, reflection and personal perspective.

    “With Isle of Hope, I wanted to show my life’s experiences. All that I’ve been through, all that shaped me and all I aspire to be and translate to the listener a sense of purpose and hope and optimism. In these anxious times in the world, music is always a sanctuary and gives people a feeling of purpose and strength. I wanted this record to exemplify that,” Betts said.

    Isle of Hope was recorded in five days at Cobb’s studio in Savannah, Georgia. The album features ten tracks written by Betts alongside longtime collaborator Stoll Vaughan, including the single “Down to Houston,” which is available now.

    The record also includes contributions from Johnny Stachela and J.D. Simo on guitar, Brian Allen on bass, Philip Towns on keyboards and Derrek Phillips on drums.

    The release follows Betts’ 2023 solo debut Wild & Precious Life, which featured appearances from Derek Trucks, Marcus King and Nicki Bluhm.

    In addition to his solo work, Betts co-founded The Allman Betts Band with Devon Allman. Since forming in 2018, the group has released two studio albums and continues to tour, including their annual Allman Betts Family Revival shows.

    Betts will support the new album with a series of tour dates this spring and summer, performing with his band Palmetto Motel as well as select shows with The Allman Betts Band.

    Watch the music video for the first single, “Down To Houston,” below.

    Duane Betts Tour Dates

    March 21 — Kahului, HI — Maui Arts & Cultural Center*
    March 22 — Honolulu, HI — Hawaii Theatre*
    April 11 — Steamboat Springs, CO — Gondola Plaza – Steamboat Ski Area+
    April 16 — Fairfield, CT — SHU Community Theatre+
    April 17 — Vienna, VA — The Barns at Wolf Trap+
    April 18 — Vienna, VA — The Barns at Wolf Trap+
    April 19 — Charleston, WV — Mountain Stage+
    April 21 — Annapolis, MD — Rams Head on Stage+
    April 22 — Red Bank, NJ — The Vogel at Count Basie+
    April 23 — Ardmore, PA — Ardmore Music Hall+
    April 24 — Homer, NY — Homer Center for the Arts+
    April 25 — Buffalo, NY — University at Buffalo Center for the Arts+
    April 26 — State College, PA — The State Theatre+
    April 29 — Albany, NY — Swyer Theatre at The Egg+
    April 30 — Manchester, NH — The Rex Theatre+
    May 1 — Westhampton Beach, NY — Westhampton Beach PAC+
    May 2 — East Greenwich, RI — The Greenwich Odeum+
    May 3 — Norfolk, CT — Infinity Hall Norfolk+
    May 27 — Ponte Vedra Beach, FL — Ponte Vedra Concert Hall+
    May 28 — Stuart, FL — Lyric Theatre+
    May 29 — Fort Lauderdale, FL — Amaturo Theater+
    May 30 — Bonita Springs, FL — Arts Bonita PAC+
    May 31 — Clearwater, FL — Capitol Theatre+
    June 6 — Vail, CO — Gerald Ford Amphitheater – Allman Betts Family Revival*
    August 10 — Ocean City, NJ — Ocean City Music Pier+
    January 16 — Fort Lauderdale, FL — The Big Easy Cruise+

    *The Allman Betts Band show
    +Duane Betts & Palmetto Motel show

    The post Duane Betts announces “Isle of Hope” appeared first on Blues Rock Review.

  • Ashley McBryde Announces New Album Wild: Hear “Bottle Tells Me So”

    Ashley McBryde kicked off the year with the sweeping song “What If We Don’t.” Today the country musician is announcing her fifth studio album Wild, which follows 2023’s The Devil I Know. The lead single “Bottle Tells Me So” is out now. The LP is produced by John Osborne and recorded with her live band…

    The post Ashley McBryde Announces New Album <em>Wild</em>: Hear “Bottle Tells Me So” appeared first on Stereogum.