Category: news

  • Review FUTURE PALACE “Resurgence”

    Resurgence is already the fourth album from Berlin-based metalcore outfit Future Palace, who formed in 2018. The trio of Maria, Manuel, and Johannes made a strong first impression with their debut album, Escape. They continued building on that foundation with Run and Distortion, before taking the next step with a new record label. Resurgence marks the band’s first release through Century… Continue Reading →
  • Ray Gomez Passed Away

    Ray Gomez Passed Away

    The fabulous Ray Gomez passed away, “one of the greatest to ever do it, a man that redefined modern electric jazz guitar in the late ’70s,” as wrote upon hearing of his departure for the great gig in the sky. … Continue reading

    The post Ray Gomez Passed Away appeared first on DMME.net.

  • Last Rites Summon Dark Clouds

    Last Rites is a new band bringing together members of Adelaide acts Hidden Intent, Tzun Tzu, Abyzmal and Devonera.

    Blending classic melodic metal with a modern metal style, the band’s first single Dark Clouds is now available to download.

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  • Riff Raiders Celebrate Physical Media With Single Release

    Melbourne rockers Riff Raiders are celebrating the CD release of their album Welcome to Mars with a new single.

    Guitarist Marty Powell has created a Peaky Blinders-style clip to accompany the track Sound Mirrors. Check it out below, and order the CD of their album from the Riff Raiders BandCamp.

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  • Pearl Jam’s Jeff Ament Gives Fans First Look at ‘Since Forever’

    Jeff Ament has spent decades telling stories through music. This fall, the Pearl Jam bassist will tell them through a camera lens instead.

    The post Pearl Jam’s Jeff Ament Gives Fans First Look at ‘Since Forever’ appeared first on Audio Ink Radio.

  • “I sometimes just want to be the guy eating a hamburger without someone asking: ‘Where’s your nose chain and your leather trousers?’” Rachel Bolan on the need for speed, his solo debut, Skid Row’s new singer, digging punk and Oasis

    It’s taken Rachel Bolan almost 40 years to release his debut solo album, the punky Gargoyle Of The Garden State. “Well, you know, I have a day job,” the longtime Skid Row bassist says drily.

    Still, the New Jersey native has thrown himself into the solo job, singing and playing most of the instruments himself (although he does get a hand from guests such as Corey Taylor, Danko Jones, Extreme’s Nuno Bettencourt and Skid Row bandmates Dave ‘Snake’ Sabo and Scotti Hill).

    “I moved back here after living in Atlanta for twenty-five years,” he says of his recent relocation to Jersey. “You start missing the comforts of home.”

    Lightning bolt page divider

    Why call the album Gargoyle Of The Garden State? Aren’t you being harsh on yourself? You’re not that ugly.

    I was originally just gonna call it Gargoyle. A lot of people don’t know that a gargoyle actually serves a purpose [they act as waterspouts on churches – Architecture Ed]. It’s the same with bass players – most people don’t realise we serve a purpose too, until we miss a note [laughs]. Then I moved back here and I started reconnecting with friends I’ve known since I was ten years old. So I put the two things together.

    Pretend you work for the New Jersey Tourist Board. Why should I visit the place?

    The thing about New Jerseyans is that we’re natural-born storytellers and hard workers. We’re very honest, too. People in Atlanta have that Southern charm. When I first moved there, a friend told me: “I thought you were the biggest asshole because you just said whatever you were thinking.” I had to train myself to hold myself back so I wouldn’t hurt people’s feelings.

    Corey Taylor sings on Big Stick, which features the lines ‘It’s time to kill the king’ and ‘Let’s kick the fascists out of town’. You’re not sitting on the fence there.

    I’m not Bono, but I needed to put out that song because of everything going on today. Every morning I see something more bizarre or horrible. My dad was in World War II and he told me stories about what was happening. Now I see things happening in this country that sound exactly like the stories he told me. It’s scary and it angers me.

    Are you worried about blowback from any MAGA Skid Row fans?

    No, I’m really not. We’re all pretty like-minded in Skid Row, though we don’t talk about it much publicly. If people don’t like me because of my views, then [shrugging dismissively] okay.

    You were always the punk guy in Skid Row. What got you into punk in the first place?

    I was always really into Kiss, but then a friend turned me on to the Ramones, and it was just, like: “Woah, this is even faster.” I guess I must have been fifteen. The first time I saw the Ramones, they were playing an amusement park. It was one of the hottest days in July, and the sun was beating down, but they never took their leather jackets off. The Ramones lead to the Sex Pistols and Dead Kennedys and Dead Boys, and all these bands. You realise these bands are saying some heavy shit in their songs.

    You’ve covered Oasis’s Rock And Roll Star on the new album. That’s handy timing, given the success of their reunion.

    I did that way before they reunited, so I was ahead of the curve. Noel Gallagher is a phenomenal songwriter. I like the snarky, sarcastic lyrics in that song about someone who just wants to be themselves in the public eye. I relate to it, cos I sometimes just want to be the guy eating a hamburger without someone asking: “Where’s your nose chain and your leather trousers?” I’m like: “Uh, in my hotel room? Sorry, man, this is how I dress.”

    You race cars in your spare time. What’s the attraction?

    Yeah, I used to do it quite a lot. I raced high-performance go-karts and what they call Legends cars, which have a kind of stock car body but smaller. Any kind of sport I was into usually had a motor attached to it. I just love going really fast.

    What’s the hairiest moment you’ve had on the track?

    I was racing in Hickory, North Carolina, on this track that actually scared me. I was behind this guy who spun out, and I tried to go between him and the wall but I hit his back tyre and went airborne. The car slammed into the wall and spun back onto the track. I had the wind knocked out of me. I was lucky I didn’t break my arm. I tried to restart the car, but the safety crew pointed out my front wheels were heading down the track in different directions.

    Did your manager tell you to maybe think twice about that stuff in the future?

    It was Scotti [Hill] who was the voice of reason. He didn’t tell me not to do it, he just asked me not to do it while we were on tour.

    What’s the state of play with Skid Row? Erik Grönwall left in 2024 and Lzzy Hale did a great job standing in for a few gigs last year, but have you found a new full-time singer yet?

    We have our eye on about five guys. We have the luxury of time, since we aren’t mid-record or on tour. We’ll probably go with someone new – someone with experience but not necessarily a recognisable name.

    Well, that rules out one obvious candidate.

    You mean Lzzy?

    No, I meant Sebastian Bach.

    No, that wasn’t even a question.

    Last thing: who’s the greatest person to come from New Jersey?

    It’s gotta be Bruce Springsteen. I admire his storytelling so much. When you’re born in Jersey, they give you a copy of Born To Run before they even slap your ass.

    Gargoyle Of The Garden State is out now via earMUSIC.

  • Emerson, Lake and Palmer | Works Live – Reissue Review

    I remember hearing the “Introductory Fanfare” into the “Peter Gunn” on my big box transistor radio when Emerson, Lake, and Palmer’s In Concert album was released in 1979 and thinking, Thank God, the rumors aren’t true. My beloved father-son-and-holy-ghost rock trio have not broken up. Little did I know. ELP had indeed disbanded after the bankrupting wreckage of touring with an orchestra supporting their Works tour, then being “forced” into making the musically uneven (to say the least) Love Beach album. Nearly 50 years later, a remastered Works Live captures the band on stage, just before the ship when down.

    Mostly taken from the iconic August 26, 1977 show with a full orchestra at Montreal’s Olympic Stadium, along with three tracks from a West Virginia gig three months later without the orchestra, Works Live was pulled together from the eight-song In Concert that gave me such hope. It was later expanded to the 15-song Works Live set in 1993. The 2026 remaster brings the orchestra to the forefront, truly adding to the sound of the band. Although as it is on the earlier releases of these live tracks, the transitions between some of the tunes are not the best, though the sound and song choices make up for any shortcomings.

    “Show Me The Way To Go Home,” “Peter Gunn,” and Lake’s beautiful “Watching Over You” all ‘work’ best for me. Classics like “Knife Edge,” even with its orchestral backing, and “Pictures At An Exhibition” were my least favorites of this collection, though here they do indeed sound the best they ever have. As for orchestral standouts, we have “C’est la Vie,” and the full attack of “Abandon’s Bolero.” With new artwork and liner notes, Works Live is available as a double CD or double LP set.

    ~ Ralph Greco, Jr.

    Purchase Works Live

  • Hunter as a Horse Confronts Serpents and Salvation in Video for “Paradise Lost” — Debut Album Out Now!

    South African musician and vocalist Mia van Wyk has spent the past decade recording as Hunter As a Horse, or HAAH, releasing a varied succession of electronic dark-pop singles and EPs from her base in the Western Cape. Her songs have often carried the scale of miniature films: private crises placed against large backdrops, with synthesizers, programmed rhythms, and van Wyk’s coolly controlled voice providing both the setting and its unsettled central presence.

    After signing with Metropolis Records earlier this year, HAAH has released her long-awaited debut album, Paradise Lost. The record moves between alternative pop, indie electronics, dream-pop, dance music, and nu-goth, shifting from propulsive tracks to slower, more spacious pieces without losing its sense of internal unity.

    For an artist whose earlier releases frequently operated as independent worlds, the album represents a considerable change in scale. Its songs belong to the same emotional period and circle a connected set of concerns: death, addiction, CPTSD, astral visions, magical thinking, and the uneasy business of examining the parts of oneself that polite society recommends keeping out of view.

    “This album deals with my shadow, my transformation and my inner architecture,” says van Wyk. “I have tried to show what is deep inside myself. I discovered that the things I was taught to bury were never my enemies, but are actually my power.”

    The language of Paradise Lost is grand without becoming remote. Van Wyk thinks in terms of ruins, crowns, monsters, resurrection, and revenge, yet these images remain tied to recognizable psychological experience. The record’s supernatural vocabulary offers a way of discussing survival without reducing it to a tidy lesson or a reassuring conclusion.

    Propelled by a taut dance beat, the darkwave-driven title track coils through the album’s broad dynamic range. The video places Hunter as a Horse in a garage workshop, singing directly into the camera with rows of tools behind her. Grainy black-and-white footage of Appalachian serpent-handling worship cuts through the performance, showing congregants praying, dancing, raising snakes, and collapsing in religious ecstasy as temptation, danger, faith, and salvation converge.

    Watch the video for the title track below:

    Styles change, tempos contract and accelerate, but the songs on Paradise Lost appear to share the same architecture, as though each opens onto a different room in a vast, faintly dangerous house. Van Wyk’s interest in misunderstood figures also supplies the album with its moral logic. She looks toward people and creatures traditionally cast as threats, studying the injuries and adaptations concealed inside their reputations.

    “A lot changed for me during that time personally and I went through a kind of integration process where I started confronting things more,” she elaborates. “Writing the album felt like a natural expression of that. In the past, I often struggled to bring songs together because they felt too different, but this time everything came from a similar emotional place and period in my life.”

    With her inspiration often stemming from unusual sources, van Wyk reveals that “I have always been drawn to the villains in stories, the ones who were feared and misunderstood, and I have often found beauty in places other people are afraid to look – the strange, the haunted, the macabre. Some people see monsters. I see stories. I see what survived. I see how it transformed. This album is resurrection, obsession, desire, revenge, surrender, love and my shadow. I don’t believe darkness is always something to be destroyed. Sometimes it’s the only part of you strong enough to save you. This album isn’t about conventional ‘healing’. It’s about walking out of the ruins wearing the crown.”

    Listen to Paradise Lost below and order the album here.

    The foundations of Paradise Lost can be traced to Anathema, the 2025 EP on which van Wyk first began treating separate songs as parts of a larger design. That release encouraged her to think beyond the single as an isolated statement and toward the album as a sustained act of disclosure.

    “It was the first time I really started thinking in terms of a connected body of work, so it felt natural to take that further with ‘Paradise Lost’, she explains. “It is designed to be heard as one piece, even though the songs are quite different individually.”

    HAAH’s music has already appeared in American Horror Story, Riverdale, and Elite, as well as the film Wander Darkly and several international advertising campaigns. With Paradise Lost, van Wyk finally gathers the breadth of that work into a full-length record, finding order among obsessions that once seemed too unruly to occupy the same space.

    Follow Hunter As A Horse:

     

    The post Hunter as a Horse Confronts Serpents and Salvation in Video for “Paradise Lost” — Debut Album Out Now! appeared first on Post-Punk.com.

  • Agnostic Front Summer Tour 2026 Kicks Off

    Classic hardcore band Agnostic Front, who helped develop the NYHC sound along with the Cro-Mags, are embarking on a short tour to bring the hardcore reality to towns blighted by normie ideation.

    Like many hardcore bands, Agnostic Front has found itself shoved behind the “new hardcore” which is basically emo and jumpcore with more drama. The band are reclaiming their place in history and music.

    Dates
    Sat. Oct. 10 – Pittsburgh, PA – The Crafthouse
    Sun. Oct. 11 – Huntington, WV – West Edge Factory
    Mon. Oct. 12 – Columbus, OH – Ace of Cups
    Tue. Oct. 13 – Lakewood, OH – Mahall’s
    Wed. Oct. 14 – Buffalo, NY – Rec Room
    Thu. Oct. 15 – Syracuse, NY – The Song & Dance
    Fri. Oct. 16 – Cheshire, CT – Counterweight Brewing

    The label says:

    Preparing to launch a brutal assault for the senses, NYC’s hardcore pioneers AGNOSTIC FRONT will set stages ablaze alongside fierce punk act BÉTON ARMÉ and rising hardcore punk collective RESTRAINING ORDER. This run of show dates across North America kicks off in Pittsburgh, PA, on October 10, 2026.

    Vocalist Roger Miret shares: “We are excited to do this quick short run with Baton Armé and Restraining Order to wrap up this years busy World Wide Tour in support of our new record Echoes In Eternity”

    Having obliterated stages and festivals around Europe over the summer months, AGNOSTIC FRONT are back on home soil for a short and intense run this fall. The dates see AGNOSTIC FRONT’s unmissable authentic raw aggression unleashed alongside a line up that showcases a hard-hitting sonic display of hardcore punk from around the US.

    Preparing to launch a brutal assault for the senses, NYC’s hardcore pioneers AGNOSTIC FRONT will set stages ablaze alongside fierce punk act BÉTON ARMÉ and rising hardcore punk collective RESTRAINING ORDER. This run of show dates across North America kicks off in Pittsburgh, PA, on October 10, 2026.

    Vocalist Roger Miret shares: “We are excited to do this quick short run with Baton Armé and Restraining Order to wrap up this years busy World Wide Tour in support of our new record Echoes In Eternity”

    Having obliterated stages and festivals around Europe over the summer months, AGNOSTIC FRONT are back on home soil for a short and intense run this fall. The dates see AGNOSTIC FRONT’s unmissable authentic raw aggression unleashed alongside a line up that showcases a hard-hitting sonic display of hardcore punk from around the US.

  • LALU – A Mythmaker’s Demise (Album Review)

    by Steve Joyce

    Quiz time: which keyboardist has made albums featuring members of Dream Theater, Symphony X, Kansas, Toto and the Devin Townsend Band?

    The answer, of course: France’s Vivien Lalu. A member of progressive metal band A-Z, Lalu’s keyboard arrangements have been described as “endlessly imaginative”. Citing the legendary Yes as a major inspiration, in 2022 Lalu said “There is only one Yes, and no one will ever be able to replace them! But I aim to bring their kind of music to a new generation.” That’s quite a mission statement!

    With four critically acclaimed albums released from 2005 to 2023, Lalu has earned his reputation as one of progressive music’s major talents. And now a fifth album, ‘A Mythmaker’s Demise,’ on which Lalu is joined by singer Martin LeMar (Nachtgeschrei, Mekong Delta), long-time musical partner Joop Wolters on guitars and bass, and none other than percussive genius and drum legend Simon Phillips. It’s a formidable line up, and one of the most impressive features of this album is the organic chemistry between the members. It sounds like they’ve been playing together for years and years, and I don’t recall Phillips ever sounding better. Extra sparkle is added by guest artist Jens Johansson (Stratovarius), who contributes killer keyboard solos on three tracks.

    Over its 10 songs and 46 minutes, ‘A Mythmaker’s Demise’ is an engaging album of melodic prog rock. The evocative title reflects on the fading light of human imagination in the age of artificial intelligence. An unsettling and topical concept! The music is simultaneously distinctive, while also channelling the finest traditions of classic era prog. Despite Vivien Lalu’s progressive metal credentials, this album leans firmly away from the metallic end of the prog spectrum, in favour of melodic richness. At turns stimulating and relaxing, there’s nothing here to make your brain hurt! It’s a pleasure to listen to.

    Opener “Tears of the Muse” hooks the listener with an ominous, sinister intro and has a clever arrangement of dynamic contrasting moods and tempo changes. “EKO” showcases the bass and guitar prowess of Wolters, and LeMar’s passionate vocals deliver a soaring, memorable chorus.

    “I Am The One” boasts the album’s strongest melodic earworm with its ‘I hear you calling my name, when I am lost in space and time’ chorus. I also love the groovy verses, with drum parts superbly crafted and tastefully played by Phillips. A searing guitar solo and superb Wakeman-esque keyboard solo thrill and delight. This is my favourite song on the album!

    Up next, “Mayacama” is one of the best prog instrumentals I’ve heard in recent years. Its strong melodic themes repeat with subtly varying instrumentation, and there’s an entertaining prog workout in the middle. The track is blessed with awesome guitar work by Wolters and some gorgeous keyboard textures. Phillips’ dextrous playing is a joy, making the music flow effortlessly without getting in the way the other musicians. Just as high class drumming should be!

    The lead single from the album is “Prince With The Swift Warning”. Repeated listens reveal a clever arrangement, intricate piano work, two excellent guitar solos and some nifty proggy moments. The lyrical themes of exile and survival are captivating. The drums and bass interplay is remarkable on this song, and I especially love the tom-heavy groove and multi-tracked vocals which kick things off.

    “Learning to Fly” treats us to Hackett/Rothery-esque guitar licks, then surprises us with a deliciously malevolent organ motif and doomy guitar riffage. After a thrilling instrumental passage, singer LeMar soars with a “spread your wings and fly away” coda that delivers a genuine goosebumps moment, and a major album highlight.

    “A Drop of Water” is a pleasing multi-layered acoustic guitar instrumental that would enhance any Steve Howe solo album. “Fhloston Paradise” – the name of an ocean world holiday resort in the 1997 sci-fi movie “The Fifth Element” (thanks, Google!) – is the rockiest track on the album, with a strong power rock chorus and an effortless Simon Phillips groove.

    The first four minutes of “Cordal Weaves” passes by pleasantly, without the music being massively impactful. All the while, we’re being set up for a stellar pay off! The song’s ‘We create…’ coda is an incredibly uplifting moment and possibly the defining point of the whole album. Album closer “Midnight Ink” is a perfectly judged warm-down, with a poignant vocal backed by melancholy piano and strings. It’s beautiful.

    The album’s publicity states that ‘A Mythmaker’s Demise’ isn’t just an album – it’s a time capsule of progressive rock’s soul…a bold tribute to legacy, craftsmanship, and artistic brotherhood.’ I think that’s a fair description. There’s been a clear creative choice to focus on ‘the song’ as opposed to virtuoso playing for the sake of it. Refreshingly there’s an almost complete absence of gratuitous self-indulgence. Stylistically there are undoubted homages to legendary forebears such as Yes (including the Rabin era), Genesis and even (relatively) newer bands such as Marillion and Porcupine Tree. But this is no clichéd pastiche: the music is fresh, interesting and enjoyable.

    Vivien Lalu was a new name to me when reviewing this album, and I imagine some might be similarly unfamiliar with him, with the risk that people may miss this release. My advice: don’t miss out! ‘A Mythmaker’s Demise’ is a must-listen for lovers of accessible, melodic progressive rock. The music is fabulously well played and sung by supremely talented musicians, and the star-power of drum maestro Simon Phillips should be of interest to everyone. Make sure you catch this absolute gem of an album!

    Released on July 31st. 2026
    Order here: https://ffm.bio/lalu-amythmakersdemise

    Track list:

    1. Tears Of The Muse 04:13
    2. EKO 04:00
    3. I Am The One 04:40
    4. Mayacama 04:47
    5. Prince With The Swift Warning 05:09
    6. Learning To Fly 06:39
    7. A Drop Of Water 01:47
    8. Fhloston Paradise 05:17
    9. Cordal Weaves 05:38
    10. Midnight Ink 04:23

    Line Up:
    Vivien Lalu – Keyboards
    Joop Wolters – Guitars, bass
    Martin LeMar – Vocals
    Simon Phillips – Drums
    Jens Johansson (guest appearance) – Keyboard solos on three tracks

    The post LALU – A Mythmaker’s Demise (Album Review) appeared first on The Prog Report.