Category: news

Out October 17th, Pre-Order Here

Newly restored high-resolution footage of George Greenough’s pioneering film ‘Echoes’ from 1973 cult-classic surf film Crystal Voyager available via Pink Floyd’s YouTube channel on 17th October

(18th September 2026) – Today, Pink Floyd announce a new San Tropez Orange Marble vinyl edition of their landmark 1971 album Meddle, for this year’s National Album Day, via Sony Music. Out on October 17th, you can pre-order Meddle Here.

To celebrate the occasion on 17 October, Pink Floyd’s YouTube channel will premiere a newly restored high-resolution 4K version of the iconic “Echoes” surf film which was shot in 1970/71 by legendary surfer and pioneering water cinematographer George Greenough .

A pivotal moment in the band’s development, Meddle was the sixth studio album by the British rock group, originally released in 1971. Produced between touring commitments and widely regarded as a notable progression from their previous work, the band devised a series of novel recording and writing experiments, which also inspired the album’s signature track, ‘Echoes’.

Alongside this, it’s also announced that a newly restored high-resolution version of the iconic ‘Echoes’ sequence, the final chapter from cult-classic 1973 surf film Crystal Voyager will be available via Pink Floyd’s YouTube channel on 17th October. The 1973 documentary directed by David Elfick was written and narrated by futuristic surfer, photographer and filmmaker George Greenough. Its iconic closing sequence shot by Greenough showcased his innovative new technique for filming in the water, involving a self-developed and built seventeen pound camera rig, which allowed the audience to see footage from inside a wave for the first time ever.

Greenough was looking for an appropriate soundtrack for this groundbreaking footage, and stumbled across a record his mother had bought for him. Upon hearing the closing track, and noting its perfectly matched 23-minute run time, he knew he had found what he was looking for. Then came the necessity of getting permission to use the song. Elfick travelled to London to meet with the band, and disclosed the fact that they didn’t actually have the money to pay them for use of the song. An agreement was proposed, whereby Elfick and Greenough could use the song, if Floyd could use the footage as background visuals for their live shows. With both parties happy, the deal was made, and ‘Echoes’ became an iconic accompaniment to a legendary film.

Speaking on ‘Echoes’, George Greenough said: “I’d never heard ‘Echoes’ before until my mother got it for me. When I heard it, I went, ‘my god, that’s gotta be the soundtrack!’ We asked about using it, and we made a deal with Pink Floyd and everybody had smiles on their faces. That was over 50 years ago and the footage and the audio still looks and sounds groundbreaking today. I’m just so stoked that this whole thing is coming about; it’s amazing to work with Pink Floyd again. The big sound and the big picture; you can’t beat it!”

Upon release, ‘Echoes’ immediately became an enduring fan favourite, regularly played live during the busy five year period of 1971 – 1975, and featured heavily in Pink Floyd Live At Pompeii, with the song split into two halves, to bookend the movie. ‘Echoes’ was resurrected at the start of the 1987 A Momentary Lapse Of Reason tour for the first eleven shows that year, and again for David Gilmour’s 2006 On An Island tour where it closed the main set of each show. Finally, sixteen years later, Nick Mason’s Saucerful Of Secrets added Echoes to their set to much acclaim. It’s regarded as one of the key musical pieces from the band’s earlier period, with Meddle a key, essential album.

This National Album Day release continues a remarkable couple of years for Pink Floyd. Earlier this year saw the release of 8-Tracks, a new official Pink Floyd compilation project, featuring eight essential classics selected from the band’s 1971 – 1979 era. This followed the 50th anniversary release of Wish You Were Here becoming a Top 10 charting album across the world, signalling Pink Floyd’s second #1 release of 2025 in the UK, Germany, Italy and Switzerland, 50 years after it first topped the chart. Seven months prior, the cinematic release of Pink Floyd at Pompeii – MCMLXXII became a Top 10 Box Office hit, and the accompanying soundtrack album earned the band’s first UK #1 album since 2014’s The Endless River – their final studio LP.

Pre-order Meddle on San Tropez Orange Marble Vinyl here.

TRACK LIST:

1. One of These Days
2. A Pillow of Winds
3. Fearless
4. San Tropez
5. Seamus
6. Echoes

 

The post Pink Floyd Announce Special Orange Vinyl Edition of 1971 Album Meddle For National Album Day appeared first on Pink Floyd.

Vredensdal was dead.

Or so we were told.

After an impressive run of four full-length albums and a couple of EPs between 2019 and 2023, culminating in the blight-rupturing record Sonic Devotion to Darkness, primary songwriter the Goblin Reaper himself called it quits. He still wrote and recorded music, of course, but he recognized that his relationship to that music was changing, and he was unwilling to chain new ideas to an old identity.

It seemed like Vredensdal might be relegated to the rear view. A new project, Cranial Vortex, dropped its prog-death neutron bomb Infinite Interactions in the waning days of 2024, but still something stirred beneath the Goblin’s cold-eyed mask. More Vredensdal music had been recorded in 2023 but languished, unreleased, until Goblin Reaper returned to it with fresh ears and revitalized intent. In October, the full record, called Mystery & Power, will blaze a path to Vredensdal’s audience, and Decibel gets to share that album’s second track with you today.

Goblin Reaper shared these insights on his band’s hiatus and return:

“My previous experience with my last album opened my eyes to the business side of an industry I had thought was built on passion for the music. Over the years, I began to feel that black metal had become complacent and stagnant, with so many artists essentially copying and pasting the rules of the genre into their music for acceptance rather than creating something truly unique for the sake of the sound.

“In many ways, this album represents what ‘broke’ Vredensdal – the point where the project began to fracture and descend because of the evolution of an ideology clashing with a tradition steeped in gatekeeping. This song touches on that directly, eschewing the comforts of simpleminded conformity for an authentic embrace of the blade’s edge known as creativity.”

Make sure to check out the Vredensdal Bandcamp page to pre-order Mystery & Power and catch up on any of the Vredensdal history you might have missed up to this point!

The post Track Premiere: Vredensdal – “Consortium of Fools” appeared first on Decibel Magazine.

Posted on September 18th 2026, 12:55pm

Haywire have given us another taste of their new album ‘I Don’t Wanna Say Goodbye’, and it’s an absolutely crushing one.

With the follow-up to the band’s 2024 debut ‘CONDITIONED FOR DEMOLITION’ set to arrive on October 02, their latest single is titled ‘Sincerely Yours’.

It comes alongside an incredible music video directed and produced by Luis Hernandez, which serves as a powerful message about the importance of community.

Check it out below.

With the band currently getting ready for a run of shows with the legendary Circle Jerks, they’ll also be hitting up a load more festivals this year, as well as playing some shows alongside Comeback Kid.

Here is where you will be able to catch them:

SEPTEMBER

18: LOUISVILLE, KY Louder Than Life
19: RICHMOND, VA The National
20: CHICAGO, IL Riot Fest
21: TOLEDO, OH The Abyss
22: HARRISBURG, PA Capital City Music Hall
23: WILMINGTON, DE The Queen
24: WASHINGTON, DC 9:30 Club
25: PITTSBURGH, PA Four Chord Music Festival
26: BROOKLYN, NY CBGB Fest

OCTOBER

2: SACRAMENTO, CA Aftershock
10: BIRMINGHAM, AL Furnace Fest
17: STORRS, CT University Of Connecticut
24: DALLAS, TX Sick New World

NOVEMBER

13: SPRINGFIELD, MO Pressure Point Fest
15: ORLANDO, FL Vans Warped Tour

JANUARY

14: MÜNSTER Sputnikcafe
15: KARLSRUHE Substage
16: LYON La Rayonne
17: TOULOUSE Bascala
18: NANTES Warehouse
19: PARIS Trabendo
20: ANTWERP Trix
21: NIJMEGEN Doornroosje
22: COLOGNE Essigfabrik
23: HAMBURG Gruenspan
24: BERLIN Festsaal Kreuzberg
26: WARSAW Proxima
27: PRAGUE MeetFactory
28: NUREMBERG Z-Bau
29: MUNICH Nachtwerk
30: VIENNA Arena
31: BUDAPEST Dürer Kert

The post Haywire Drop Crushing Single ‘Sincerely Yours’ appeared first on Rock Sound.

Posted on September 18th 2026, 12:31pm

The band says everyone is okay, though two members will sit out their upcoming Leipzig performance

Source

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself¹—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

---

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

The post Aletheya – Chance to Reborn Review appeared first on Angry Metal Guy.

“I think, over the past few years, I have set quite a high standard. Now I’m determined to keep that going. To still have the energy to work, that is a real blessing.” Wise words indeed. The legendary Robin Trower shows no sign of slowing with Shine, his eighth studio album in the last decade.

Robin Trower – Shine

Release Date: 25 September 2026

Words: Paul Hutchings

But Robin Trower is not content with churning out the same stuff. Yes, there is a distinction about his playing that makes him instantly recognisable, but Shine is another beautifully crafted and performed release that resonates deeply. 

Distinctive also is applicable to long-standing vocalist Richard Watts, whose husky, smoked delivery alongside Robin’s effortless guitar (and bass) and drummer Chris Taggard’s chilled anchoring combine to make Shine another record to admire and enjoy. 

It is incredible to think that Robin has, as the accompanying bio reminds us, lived through most of the rock ‘n’ roll era. Raised in Southend-on-Sea in the ’40s and ’50s, he was there for Elvis and his sideman Scotty Moore, as well as icons like B.B. King. “I just remember hearing the bends and vibrato on 3 O’clock Blues and thinking, ‘How the hell is he doing that?’” 

His career is well documented, and I have had the pleasure not only of speaking to the man but reviewing several of his recent works, including the recent One Moment In Time: Live in the USA and 2025’s Come And Find Me.

You could just read those reviews. The superlatives that I chose then are applicable here on Shine. There is a swell of blues that mixes up with the funk and soul that is always part of Robin’s playing and compositions. 

Opener The Missing Piece smoothly introduces just short of 40 minutes of music that simply washes over you. There is no rush, no high-impact shredding, just the classic style of Robin and his Fender Stratocaster.

Cool, relaxed, yet somehow still vital and relevant. “The lyric is about looking back as an older person – or in my case, a very old person – and missing what was so wonderful about being young,” he says. “You know, the sweet bird of youth has already gone.”

Time may be passing, but Robin and his band can still make music that makes you smile. Reflections of his career are laced throughout the album. Occasionally you are drawn back to 1974’s Bridge Of Sighs, the stadium-filler of an album that I still play regularly. Such is his playing that it is impossible not to drift back to that classic release.

Yet Shine is as contemporary as it needs to be. The title track is superb, a bit of his magnificent playing in the shape of his ‘power-soul’ style. He describes it as the most positive track on the album, something desperately needed in such dark days.

But Robin is determined not to be brought down. “I agree with people that it’s a very dark time. But I don’t want to make gloomy music. I think that most of these songs are positive”.

Love by Any Other Name goes a bit darker without getting too deep, whilst there is a deep funk riff on Live Your Time, a message about making the most of your life. Both are gloriously delivered, with some of Robin’s best riffs on the latter (his words, not mine). 

Faith hangs in the air, a gentle and mellow piece that once more allows Watts to show his quality. And Truth sees rising British vocalist Jess Hayes take the mic with ease. “I heard Jess some years ago when she opened up for us, and she’s an absolutely dynamite singer,” says Robin. 

The longest track on the album closes things down. It’s Not Time procures a slow, instrumental section as it eases to a close. It is the final opportunity to experience a master at work and a fitting final song on an album that once again is full of gems. 

For now, it’s time to appreciate another stunning body of work. “Really, if I have a gift,” Robin says, “it’s probably that I come up with ideas. Ideas for songs, ideas for lead work. Certainly, that’s what keeps me going. It’s just so exciting to see something blossoming into a new song.”

Long may it continue. 

Robin Trower releases Shine on 25 September 2026 via Provogue/Artone Label Group. For more details, visit lnk.to/RobinTrower

The post Robin Trower Shines Again With Another Masterful Album first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Descendents’ Bonus Fat returns November 13, 2026, via Org Music. Collecting the band’s earliest recordings, the eight-song release

Chicago will welcome a major alternative rock lineup when Weezer brings The Gathering Tour to United Center on September 22, 2026. 

Joining Weezer are The Shins and Silversun Pickups, giving fans three established bands in one arena-sized event.

Running across 32 North American cities, The Gathering Tour puts Weezer at the center of a packed night of guitar-heavy music. 

Chicago’s date gives local fans a chance to hear songs tied to several eras of alternative and indie rock, with each band bringing a different style to the bill.

Weezer Headlines With Hits and New Music

Weezer enters the Chicago show with a set built around major hits, fan favorites, rarities, and newer material. Years of releases give the band plenty of options, allowing each performance to move between radio staples and songs aimed at longtime listeners.

Early shows on The Gathering Tour have featured 26 songs, giving Weezer enough space to cover several periods in its catalog without relying on only its biggest singles.

A set of that size also gives the band room to shift tone, moving between loud guitar songs, slower material, and stripped-back arrangements during the same performance.

Several of Weezer’s most recognizable songs have already appeared during recent tour dates:

• “Buddy Holly”
• “Say It Ain’t So”
• “Island in the Sun”
• “Beverly Hills”
• “Hash Pipe”
• “Undone – The Sweater Song”
• “The Good Life”
• “El Scorcho”

Those selections cover some of Weezer’s most familiar material and give casual fans several major singalong moments. 

Longtime listeners also have reasons to pay close attention, since less frequently played songs have returned to the set.

“Keep Fishin’,” “No Other One,” “Lonely Girl,” and “Slob” have all surfaced during recent performances. 

Their presence adds more variety to the show and keeps the setlist tied to more than the band’s biggest commercial releases.

New material also has a visible place in the concert. “Shine Again,” released April 1, 2026, opened Weezer’s Sacramento tour date, placing a current song at the front of a performance filled with older favorites.

Opening with newer material gives Weezer a chance to introduce its current work before moving into songs that many fans have known for years. That structure helps the concert feel active and current instead of functioning only as a retrospective set.

Why the Chicago Show Matters

Weezer brings 1990s power pop and arena-sized hits, The Shins represent a major part of 2000s indie rock, and Silversun Pickups add heavier guitars and a more atmospheric style.

Few arena bills pair three alternative rock acts with catalogs this recognizable. Chicago also has an active concert calendar, with music events in Chicago and nearby communities giving fans plenty of opportunities to catch live performances throughout the year.

Weezer centers its performance on hooks and singalong choruses, The Shins lean toward melody and detailed arrangements, while Silversun Pickups bring louder textures and sharper shifts in intensity.

That contrast gives the night a natural progression. Silversun Pickups can open with heavier guitar work, The Shins can shift the mood with more melodic material, and Weezer can close with a long set packed with familiar songs.

Several details make the Chicago date especially notable:

• United Center hosts the show on September 22, 2026.
• A 7:00 p.m. event time has been listed.
• The Gathering Tour runs September 8 through October 24.
• Chicago falls early in the tour schedule.

Fans who mainly attend for Weezer still get substantial performances by two established supporting acts. 

Listeners who know The Shins or Silversun Pickups better also have a full Weezer set waiting at the end of the night.

United Center gives all three acts space for a larger production than a club or theater date. 

Bigger staging, arena sound, and a large crowd can make familiar songs hit differently, particularly tracks built around loud guitar sections or mass singalongs.

Chicago’s stop ultimately brings several periods of alternative rock into one evening without making any single act feel secondary. 

Familiar songs, less common selections, newer Weezer material, and possible collaborations give the September 22 show enough variety to keep the full night moving.

Full-Band Return for The Shins

Fans of 2000s indie rock have another major reason to arrive early. Recent tour appearances marked The Shins’ first extended full-band performances in four years, making their slot more significant than a typical opening appearance.

James Mercer and his band bring a softer and more melodic style to the lineup. 

Their songs rely heavily on vocal phrasing, layered guitars, and carefully shaped arrangements, creating a noticeable change in mood after Silversun Pickups and before Weezer.

Recent sets have included several songs closely tied to The Shins’ catalog:

• “New Slang”
• “Caring Is Creepy”
• “Australia”
• “Simple Song”
• “Sleeping Lessons”
• “Gone for Good”
• “Heartworms”

“New Slang” and “Caring Is Creepy” give longtime listeners material connected to the band’s early years, while “Simple Song” and “Heartworms” bring later releases into the set.

That range gives The Shins enough material to make their performance feel substantial rather than brief.

A full-band setup also gives songs such as “Sleeping Lessons” more room to build in an arena. 

Larger guitar sections and gradual changes in volume can work especially well in a venue such as United Center, where quieter passages can lead into much bigger finishes.

James Mercer’s presence adds another recognizable voice to a bill already packed with familiar songs. 

Instead of functioning as a short lead-in to Weezer, The Shins have enough established material to carry their own section of the night.

Silversun Pickups Bring Heavy Guitar Energy

Silversun Pickups open the night with a louder and more atmospheric sound. Fuzzy guitars, forceful bass lines, and sharp shifts in volume make the group a strong choice for starting an arena show built around alternative rock.

Recent performances have included “Well Thought Out Twinkles,” “Panic Switch,” and “Lazy Eye.”

“Panic Switch” brings a tense, fast-moving pulse, while “Lazy Eye” gives the group one of its biggest audience moments. 

“Well Thought Out Twinkles” adds another familiar guitar-heavy track and helps establish the tone before later acts take over.

Fans arriving at United Center early will get more than a short warm-up set. Silversun Pickups have enough well-known material to make the opening portion of the show feel like a full concert segment.

Connections between the acts have also appeared onstage. Nikki Monninger, bassist for Silversun Pickups, joined Weezer during an earlier tour date for three songs:

• “We Might as Well Be Strangers”
• “Go Away”
• “I Just Threw Out the Love of My Dreams”

Those appearances created a direct link between the opening act and the headliner. Similar moments are not guaranteed in Chicago, but earlier dates show that the tour can include collaborations that are not part of a standard three-band schedule.

Cross-band appearances also give fans another reason to watch each set closely. 

Musicians appearing with one another can make individual tour stops feel less predictable, especially when several established bands share the same bill.

Summary

Chicago fans can expect much more than a short opener followed by a standard Weezer set. 

Silversun Pickups bring intensity at the start, The Shins add a strong indie-rock section, and Weezer closes with a long set covering major hits, rarities, acoustic moments, and new music.

September 22 should give United Center one of its biggest alternative rock nights of the year, with three bands sharing a bill built around recognizable songs and decades of material.