BMG Records are delighted to announce the worldwide release of the brand-new album from legendary guitarist Tony Iommi, entitled ‘From The Dark‘. Heralded by the first single ‘World Alone’ which received its premiere this afternoon at a special global streaming event hosted in Iommi’s hometown of Birmingham, England, a stone’s throw from the famous Black […]
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Tony Iommi has announced From The Dark, a brand-new album set for worldwide release through BMG on 23 October 2026. The first single, World Alone, is out now.
The song premiered during a global streaming event in Iommi’s hometown of Birmingham, England, close to the Black Sabbath Bridge that opened in 2019 as a civic tribute to the band. MetalTalk were in attendance and will report soon.
World Alone is powered by a barrage of guitar riffs and solos, a driving rhythm section and the vocals of Norwegian singer Jorn Lande. Its accompanying video is set in a retrofuture dystopian universe, where a character called The Believer is thrown into a twisted video game and forced to fight for his life and salvation.
Iommi is joined throughout the album by Jorn Lande, who shares writing credits on every song, bassist Becky Baldwin and drummer Karl Brazil. The record was co-produced by Iommi and his long-time creative partner, co-writer, producer and audio engineer Mike Exeter.
“It’s an album we’ve really enjoyed making,” Tony Iommi said. “We’re not trying to prove anything. It’s a great album. It rocks!”
Opening track Over The Violent Sun brings together one of Iommi’s driving, down-tuned riffs and Lande’s dramatic vocal performance. Black Times follows with a direct, hard-hitting attack before the album moves into first single World Alone.
Beyond The Dead slows the pace with a stately, sinister riff and epic orchestration. Lande’s lyrics explore dystopian imagery, mortality and the fleeting nature of human experience, with Stormwatcher using nautical metaphors and dreams of new horizons.
Death Wake continues the record’s dramatic centre section, combining music and lyrics around the cruelties of a life without love or humanity. The album closes with the furious Return Of The Arbalist and the expansive Legacy, bringing together the power, drama, light and shade that run through From The Dark.
From The Dark will be released on 23 October 2026. Further information is available at Iommi.com. Pre-orders are available at tonyiommi.lnk.to/fromthedarkPR
A limited-edition 7-inch version of World Alone will be released on 4 September. It is backed exclusively with an instrumental version of the song and comes in a deluxe foiled sleeve. The track will also be available through the Gibson learn-to-play guitar app.
From The Dark will be released across several deluxe vinyl and CD formats. The double LP is cut at 45rpm for optimum dynamic range and comes in a premium black die-cut gatefold sleeve featuring Iommi’s signature cross.
Some bands just know what they’re about right away. Australia’s blackened death metal band Complexant poise themselves as a rising star in the continent/country/island’s extreme metal ecosystem, storming the scene with “a sound defined by weight, darkness, and unrelenting intensity.” There’s little fanfare to Complexant’s promo around their debut full-length Apex: in so many words, they merely promise to kick as much ass as they can fit in a thirty-four-minute session. They’ve tormented their home country since 2022, but Apex aims to make Complexant a global menace. But can Apex raise Complexant to the cream of the blackened death crop?
That Apex is a debut isn’t too shocking. Complexant play a dense, modern-sounding brand of brutal death metal dusted with black metal vitriol and (slight) deathcore stank. Think Cordyceps—restless riffing, crushed production, murderous intent, etcetera—but with more human-sounding vocals and a willingness to let their boots off your neck from time to time. Apex is heavy, raw, and blunt, but Complexant’s greenness shows in some undercooked ideas and seriously ham-fisted moments. Clean vocals worm their way onto “No Angels Weep” and “Afterlife,” which aren’t nearly as vital as vocalist Dan Greigsy’s screams and tack on an unwanted Stone Sour butt rockiness to the latter track’s ending. Endings are another issue. Although it’s worth celebrating Complexant’s realization of the power of editing, “Heretical Supremacy” and “Critical Mass” both end before they’ve hit their stride. Add some clumsy lyricism—”Cyclops, you only see through one perspective.” (“Cyclops”), “My head is at critical mass. One more thought and my cranium will surely collapse.” (“Critical Mass”)—and Apex’s rawness sometimes doesn’t work to Complexant’s benefit.
But more often than not, Complexant uses Apex’s bluntness as a proper instrument of devastation. Under the oppressive fury of drummer Seb Su’s blast beats, guitarists Shannon Zivkovic and Gavin Bradley and bassist Chris Tuckley churn out seething, brutish riffs one after the other, underpinning Greigsy’s incensed performance across Apex. Songs like “Swing Myself to Sleep” and “Eye for an Eye” attack with a balanced approach of imposing, dissonant blackened chords and neanderthal death chugs, the former deploying some fucked up noodling bits in the bridge and the latter ending in seriously caustic heaviness. Complexant’s mix highlights Su’s drums, who complements the guitars with a similarly dynamic balance of concussive speed (“No Angels Weep,” “Apex”) and groove (“No Hope for Sanctuary,” “Eye for an Eye”) while littering just enough fills across Apex for good measure. Finally, Complexant utilize breakdowns conservatively and effectively to punctuate dramatic moments in their songs (“Swing Myself to Sleep,” “Cyclops”) rather than writing everything tailored to the breakdown. Apex is a thematically uncompromising record, and thus benefits from the unsophisticated sound Complexant bestows it.
Not to be cruel, but Apex sounds best to these ears when Complexant sound just miserable. Apex features some truly harrowing and uncomfortable lyrics, and these moments usually encompass Complexant’s best material. From the suicidal ideation of “Swing Myself to Sleep,” to the vengeful murder fantasies of “Eye for an Eye,” to the proclamations against life itself on “Afterlife,” Complexant don’t endear themselves to you with their sunny dispositions. When Greigsy screams, “Eye for an eye when you take a man’s life. You brought a weapon, a weapon to a fist fight,” (“Eye for an Eye”), you best believe the instrumentals rise to meet his vitriol. At times Apex reminds me of Whitechapel’s The Valley in both sound and in barefaced confessional lyricism, reaching its emotional zenith on closer and album highlight “No Hope for Sanctuary.” Relaying the speaker’s childhood home life, his early claim of how he “was raised by fucking vandals” is bolstered by scenes of harrowing domestic violence and abuse, offering up an apt metaphor of being trapped under debris for the unstable environment he came up in. Apex doesn’t reach greatness as a whole, but in these uncompromisingly bleak moments Complexant reach the mark.
I had a good time having a bad time with Apex. Proving further that everything from Australia wants to kill you, Complexant can bring the hurt with the best of them, and Apex is a more than adequate exercise in hostility. Even where songwriting faltered, Apex is still enjoyable through the simple joy of the disgusting riff. Now, if Complexant hone their songwriting further by the time they’re ready for album number two, we’ll have something truly worth watching. If for our own safety, at the least.
Rating: Good!
DR: 4 | Format Reviewed: ???1
Labels: Bleeding Art Collective and Blood Blast Distribution
Websites: complexant.bandcamp.com | facebook.com/complexantband
Releases Worldwide: July 31, 2026
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After 14 years, Marshall has released a new signature amp, this time in collaboration with Green Day‘s Billie Joe Armstrong. The 1959BJA artist signature amplifier was crafted to replicate Billie Joe’s signature raw, crunchy sound, inspired specifically by Green Day’s Dookie era. On Monday, July 20th, Marshall and Billie Joe Armstrong celebrated the launch by hosting a free promotional show at The Roxy in West Hollywood.
Billie Joe Armstrong formed The Coverups in 2018 with longtime friends Jason White on guitar, Bill Schneider on bass, and Chris Dugan on drums. They tend to play spontaneous shows a couple times a year doing exactly what you’d expect them to, play nothing but covers. There is something uniquely special about watching one of your musical heroes pay tribute to theirs. The fact that they’re usually at small venues is pretty cool too.
The show was announced only a week in advance, and RSVP’s were gone within minutes. With the event being first come first serve and entry not guaranteed, fans were stressing about making it inside. So much so, that they started lining up on Sunset Boulevard at 3 a.m.! By 3 p.m., it was already taking up half the block, which is crazy considering the fact that the doors opened at 8. Fortunately, the Green Day and side project community is one of the best. It doesn’t really feel like you’re waiting around for hours when you’re spending it hanging out and catching up with old and new friends. The sense of community is just as important as the music and the ones that are playing it.
Right before doors opened, fans were handed scratch off tickets that read, “Everyone’s A Winner”.
When walking in, it was apparent that Marshall and The Roxy had gone all out for this event, it absolutely felt like a promotional party! Even the bar had Dookie themed drinks for the occasion. Also, not to mention how many posters there were that everyone was just taking them off the walls. I was lucky enough to bring home two.
When I was going to redeem my scratcher, I was given two numbered guitar picks to enter into a raffle. Later in the night, Billie (with the help of a young fan) picked 3 raffle winners who got to take home a t-shirt, a pair of headphones, and an amp! In addition to the cool new guitar pick, the scratcher redeemed me a lighter, a sticker pack, and 2 buttons. This was a really thoughtful touch that excited the fans.
It was then time to reserve my spot for the opener, The Death Chat. Fronted by Armstrong’s son, Jakob, The Death Chat’s indie power pop punk sound made them a great opener for the night. One significant moment was when they performed “King Of The World”, the first song that Jakob ever wrote. This was definitely exciting to watch, and was especially meaningful knowing that the room was full of fans and people that have watched him grow since then. The Death Chat recently released their self titled album and are currently supporting Bad Nerves on their West Coast tour. I highly recommend you check them out in the future whenever you can.
After a short wait, The Coverups hit the stage. Billie thanked the crowd for coming out to celebrate, and reassured us that we would hear more about the amp throughout the night. It sounded pretty good to me! He even teased us with a snippet of “Brain Stew”, which gave everyone a good laugh. They went on to perform 26 songs, some being Coverups essentials, songs that Green Day has covered in the past, and some live debuts that we’ve never heard before, “Do You Wanna Dance?” and “I Melt With You”. A moment that got me emotional came before Nirvana’s “Drain You”, when Billie Joe dedicated the song to Jennifer Finch. Several exciting guests made special appearances throughout the night. Eden Galindo joined the band for guitar on Mötley Crüe’s “Live Wire”, and legendary producer Rob Cavallo played guitar to end the night on Cheap Trick’s “Surrender”. This was an extremely special moment for me and I know many others.
Here’s the setlist.
1. Hello There (Cheap Trick cover)
2. A Million Miles Away (The Plimsouls cover)
3. I Think We’re Alone Now (Tommy James & the Shondells cover)
4. I Wanna Be Sedated (Ramones cover)
5. Sometime To Return (Soul Asylum cover)
6. Message Of Love (Pretenders cover)
7. Summer Of ’69 (Bryan Adams cover)
8. American Girl (Tom Petty and the Heartbreakers cover)
9. I Fought The Law (The Clash cover)
10. Do You Wanna Dance? (Ramones cover, The Coverups live debut)
11. Ever Fallen In Love (Buzzcocks cover)
12. I Melt With You (Modern English cover, The Coverups live debut)
13. Rockaway Beach (Ramones cover)
14. Bastards of Young (The Replacements cover)
15. Love is for Losers (The Longshot cover)
16. Ziggy Stardust (David Bowie cover)
17. Last Nite (The Strokes cover)
18. Drain You (Nirvana cover, dedicated to the late Jennifer Finch of L7.)
19. Fox on the Run (Sweet cover)
20. Should I Stay or Should I go (The Clash cover,
fan brought on stage to sing Spanish parts.)
21. We Got the Beat (Go-Go’s cover)
22. Live Wire (Mötley Crüe cover, Eden Galindo joined on guitar)
23. Crazy Train (Ozzy Osbourne cover)
24. Talk Dirty to Me (Poison cover)
25. Dancing With Myself (Generation X cover)
26. Surrender (Cheap Trick cover, Rob Cavallo joined on guitar!)
There aren’t many things better than hearing the person who introduced you to punk and rock sing the soundtrack to your life. You can watch my videos of Billie’s “Crazy Train” solo, “Drain You”, “Ever Fallen In Love”, “Live Wire, “Surrender”, ” and The Death Chat’s “That’s Cool”.
Though of course there’s bound to be those who can be pushy, and demand things like autographs, or to hear Green Day hits, The Coverups shows have never really been about that. They’re simply just a band of friends playing the music they love to people that love it just as much.
Seeing Billie Joe Armstrong’s side projects will always be greatly sentimental to me. There is just something fascinating about looking around at the tiny 500 cap room and realizing one of the most influential musicians of the last 3 decades is standing just a few feet away from you. The man that can sell out stadiums, is selling a Marshall signature amp, is playing a show like this for free. That’s only apart of what makes these shows so special. This one at The Roxy was particularly because we were the first group of people to hear the new Marshall 1959BJA signature, and I think that’s the last time for me. Unless I magically win $4,000 anytime soon.
I’ve been lucky enough to have seen Billie Joe Armstrong’s side projects several times over the years, starting when I was just 14 years old, and every one of them have been exceptional and in the same spirit. A strong sense of community, good causes, a genuine love for music, and a want to have fun. That feeling never changes, whether it’s in a giant stadium or a tiny club.
Lauryn Hill played an inspiring acoustic set. But the experience of locking my phone in a Yondr pouch was … strange.
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Today, July 29h critically acclaimed Southern soul and roots rock band Bywater Call returns with its most adventurous studio album to date, supported by an extensive international tour.
Due to popular demand, two new dates have been added to Bywater Call’s January and February 2027 UK Tour, as well as a headlining performance at Planet Rock’s Winter’s End Festival on Friday, January 29th.
To celebrate the release of the new album, Bywater Call will release the focus track single “Way To Go” which is accompanied by an official music video. “Way To Go” serves as the project’s focus track. Anchored by themes of self-determination and quiet resilience, the song pairs Bywater Call’s soulful musicianship with a powerful reminder that sometimes the only path forward is the one you choose for yourself.
Following the critical success of their previous album Shepherd and a year that included more than 130 performances across 11 countries, acclaimed Canadian Southern soul and roots rock band Bywater Call is set to release their new studio album, Broken Souvenirs, worldwide. The 11-track collection expands the ensemble’s musical palette while staying true to the heartfelt storytelling and electrifying musicianship that have become its signature.
Comprised of Meghan Parnell on lead vocals, Dave Barnes on guitar, Bruce McCarthy on drums and percussion, Mike Meusel on bass, Andrew Moljgun on keyboards, Stephen Dyte on trumpet and valve trombone, and Julian Nalli on saxophone, Bywater Call continues to redefine expectations of what a modern roots band can be.
On Broken Souvenirs, the group once again proves that its greatest strength lies not in fitting neatly within a single genre, but in creating music that connects through authenticity and emotional depth.
Renowned for transcending genre boundaries, Bywater Call has earned an international reputation for emotionally charged live performances fueled by Parnell’s commanding vocals and the dynamic interplay of all seven musicians. As the band continues its upward trajectory, it also celebrates its third consecutive nomination for International Act of the Year at the UK Blues Awards, further solidifying its place among today’s most exciting voices in modern roots music.
Produced by Barnes and Patric McGroarty, Broken Souvenirs captures a band confidently embracing creative evolution. Recorded at Palace Studios in Toronto, the album seamlessly blends vintage soul, blues, contemporary R&B, roots rock, and Americana, drawing inspiration from acts such as Black Pumas, Alabama Shakes, Amy Winehouse, Shakey Graves, and The Black Crowes while forging a sound unmistakably its own.
Fans have already gotten a taste of Broken Souvenirs through the previously released singles “Hold Me Down,” “Ain’t No Friend Of Mine,” “Only,” “How Long,” “No One Else,” and the latest release, “Way To Go” Together, the songs offer a compelling preview of the album that shifts from feel-good retro soul and intimate acoustic ballads to horn-driven grooves, blues-rock anthems and cinematic contemporary soul.
Throughout Broken Souvenirs, Bywater Call explores themes of perseverance, vulnerability, identity, resilience, and human connection. “Is This Thing On?” offers an intimate look at the emotional realities of life as a touring musician, while the tracks “Way To Go,” “Clutter,” “Sally,” and “Yardsale” showcase the band’s ability to pair deeply personal storytelling with memorable melodies and powerful performances. Elsewhere, infectious songs “No One Else,” “Only,” and “Hold Me Down” demonstrate the group’s gift for crafting groove-driven songs that balance vintage influences with a fresh, modern perspective.
The new collection arrives on the heels of widespread acclaim for Bywater Call’s previous releases. Classic Rock magazine named the band’s 2024 album Shepherd its Blues Album of the Month, praising it as “an inventive and uncommonly catchy record” with “the sense of a band on the brink.” The publication later selected Shepherd as its Blues Album of the Year. The group’s 2025 live album, Sunshine, also earned praise from critics for capturing its celebrated onstage energy.
To support Broken Souvenirs’ release, Bywater Call will embark on an extensive international tour spanning North America throughout 2026 before heading to Europe and the United Kingdom in early 2027. The itinerary includes headline performances, major festival appearances, and select support dates with Blackberry Smoke and Joanne Shaw Taylor.
Renowned for transcending genre boundaries, Bywater Call has built a reputation for electrifying, emotionally charged live performances driven by powerhouse vocals and thrilling interplay between all seven band members. In early 2026, the band earned their third consecutive UK Blues Awards nomination for “International Act of the Year”, following previous nominations in 2025 and 2024.
Tickets for all UK shows are available from The Gig Cartel, Gigantic, and Bywater Call.
Broken Souvenirs is available on all streaming platforms here and for purchase here.
The post BYWATER CALL Pushes Musical Boundaries on New Album “Broken Souvenirs” & Shares Official Music Video For Single “Way To Go” appeared first on Sonic Perspectives.
BTS have always wanted to win a Grammy. Since the South Korean idol group ascended to global superstardom, they’ve mentioned they Grammys as a career goal many, many times. In the past, BTS have been nominated for a handful of Grammys, and they’ve performed on the awards show telecast twice, but they have never won a Grammy. Now, after returning with their album Arirang earlier this year, BTS have announced that they’re boycotting next year’s Grammys.
The post BTS Boycott 2027 Grammys appeared first on Stereogum.
The legendary Tony Iommi has revealed all of the details of a new solo record, a journey into the mind of metal’s finest.
It’s titled ‘From The Dark’ and will be released on October 23. It sees Tony joining forces with vocalist Jorn Lande, who shares writing credits on all songs, bassist Becky Baldwin and drummer Karl Brazil. It was also co-produced by Tony alongside Mike Exeter, his long-time creative partner.
Tony had this to say about the project, stating, “It’s an album we’ve really enjoyed making. We’re not trying to prove anything – it’s a great album, it rocks!”
The artwork looks like this:
And the tracklisting:
1. Over The Violent Sun
2. Black Times
3. World Alone
4. Beyond The Dead
5. Stormwatcher
6. Death Wake
7. Return Of The Arbalist
8. Legacy
Deluxe CD bonus tracks
9. Deified
10. Scent Of Dark
And the journey starts with ‘World Alone’, a rip-roaring, adventurous celebration of metal at its most bodacious and boundless. From Iommi’s bludgeoning riffs and technically wondrous solos, to the worldbuilding at the core of the lyrics, it’s a triumph in every sense.
And the video is wild, so get stuck in.
The post Tony Iommi Announces New Solo Album ‘From The Dark’ appeared first on Rock Sound.
In 2000, after decades as the guitarist for Black Sabbath, the legendary Tony Iommi released his first solo album. He’s since released collaborative albums with Glenn Hughes and Ian Gillian, but his only other proper solo LP to date is 2005’s Fused. That’s about to change.
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