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Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?

Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.

Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.

Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.

Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.

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Rating: Mixed
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

The post Unknown – Graveyard of Empires Review appeared first on Angry Metal Guy.

Julia Wolf has shared a new track and brought in a scene legend to help her bring it to life. Oh yes. It’s Kellin Quinn.

The song is called ‘Lamb’ and finds Julia indulging in her love for mid-00s post-hardcore and emo in a big way. Jangly chords, grogeously emotional melodies and plenty of vintage melancholy, it is like a warm hug from a special period in music.

And in bringing in Kellin Quinn, delivering dulcet croons and harsh screams aplenty, she is paying tribute to those who were there as much as those who are still kicking and keeping the sound alive.

As a pair, the two are perfect together, and the result feels like an instant classic. One of the best collaborations of 2026 by a country mile.

And look out for a pretty amazing reference to Sleeping With Sirens’ ‘With Eyes To Hear And Ears To See’ in the quaint video.

It follows on from ‘Deep End’, which sounds a lot like this:

Julia is about to head out on the road on both sides of the Atlantic for an extensive tour. Here is where you can catch them.

SEPTEMBER

17 – AUSTIN Mohawk
18 – DALLAS The Bomb Factory
19 – HOUSTON Warehouse Live
21 – ORLANDO House of Blues
23 – ATLANTA Masquerade (Heaven)
25. CHARLOTTE The Underground
26 – NASHVILLE Eastside Bowl
28 – WASHINGTON 9:30 Club
30 – PHILADELPHIA Union Transfer

OCTOBER

02 – NEW YORK Irving Plaza 
05 – BOSTON Paradise Rock Club
07 – TORONTO The Opera House
09 – COLUMBUS Newport Music Hall
10 – CLEVELAND The Roxy at Mahall’s
12 – GRAND RAPIDS Elevation
13 – INDIANAPOLIS Hi-Fi Annex
16 – DENVER Summit
17 – SALT LAKE CITY The Depot
20 – PORTLAND Wonder Ballroom
21 – SEATTLE The Showbox
23 – SAN FRANCISCO Great American Music Hall
25 – LOS ANGELES Fonda Theatre

NOVEMBER

17 – DUBLIN Button Factory
19 – GLASGOW Garage
20 – LEEDS Stylus
22 – BIRMINGHAM 02 Institute 2
23 – MANCHESTER Academy 2
25 – LONDON KOKO
28 – COLOGNE Luxor
30 – PARIS La Maroquinerie 

DECEMBER

01 – AMSTERDAM Tolhuistuin
02 – BRUSSELS Botanique
04 – BERLIN Hole 44

The post Julia Wolf Teams Up With Kellin Quinn On Beautiful New Track ‘Lamb’ appeared first on Rock Sound.

Fluisteraars‘ new studio record, Jacht Der Mysteriën, is officially out and available for streaming in its entirety via Eisenwald YouTube channel. Check it out.
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Steven Wilson has announced his new studio album, Requiem For A Village, set for release on November 6th via Fiction Records. The album’s title track is available now, along with the first installment of Wilson’s new “Village Hall Session” video series on YouTube.

For the new album, Wilson says he wanted to return to a more organic and distinctly human approach to making music, embracing imperfections and unpredictability rather than relying heavily on modern studio technology.

“I wanted to get back to a kind of music where you can hear the metaphorical thumbprints,” Wilson explains. “Doubling down on the human gestures and flaws in the music, stuff that can’t be created using software.”

That approach included working exclusively with analogue synthesizers and allowing instruments to remain imperfectly tuned. Wilson also challenged himself by playing instruments outside his usual comfort zone, including violin, oboe and drums.

“Playing things I don’t really know how to play but getting something out of them inspired me in ways I didn’t expect,” he says. “Approaching the music with a sense of innocence and seeing where it took me. And where it took me was to the village.”

Scottish actor David Tennant provides the narration on the new album, and is joined by former XTC man Andy Partridge, who has written the narration and some of the lyrics, multi-instrumentalist Randy McStine, drummer Russell Holzman (on the tracks Requiem For A Village, Now Departing, A Basket Of Bees and Wheel) and vocalist Katherine Priddy (Murmuration).

Tracklisting
Swirl In A Lark’s Eye
Requiem For A Village
The Same River Twice
Now Departing
Hireath
On Chapel Slope
Murmuration
Curcus Fingerprint
A Basket Of Bees
Great Green Map
Wheel
The Old God Is Buried

The album will be available on CD, Blu-ray, 140g double black vinyl and oxblood-colored double vinyl. A deluxe box set will feature two CDs and a Blu-ray packaged with a 96-page hardback book. Limited signed CDs will also be available through Amazon, while HMV will offer a CD edition with exclusive packaging.

Pre-order now at https://stevenwilson.lnk.to/Requiem-for-a-Village

The post Steven Wilson announces new album ‘Requiem For A Village’ appeared first on The Prog Report.

Heavy metal collective Absolute Power has revealed a lyric video for “Needs Must When The Devil Drives”, the first single and title track off their upcoming full-length instalment.
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“It’s the most beautiful image of something so tragic,” John explained. Continue reading…

We’re back with a brand new Tracks Of The Week! This week we’ve got another seven new and diverse slices of progressively inclined music for you to enjoy.

Congratulations to Welsh heavy proggers Godsticks, whose guitar and bass playthrough of Hold Back got the most votes last week. Well done boys! Downes Braide Association came in second, with Wingan prog rockers Boss Kelod in a respectable third place.

The premise is simple – we’ve listened to a batch of new releases by bands falling under the progressive umbrella, and collated them together in one post for you – it makes it so much easier than having to dip in and out of various individual posts, doesn’t it?

The idea is to watch the videos (or listen if it’s a stream), enjoy (or not) and also to vote for your favourite in the voting form at the bottom of this post. Couldn’t be easier, could it? We’ll be bringing you Tracks Of The Week, as the title implies, each week. Next week, we’ll update you with this week’s winner and present a host of new prog music for you to enjoy.

If you’re a band and you want to be featured in Prog‘s Tracks Of The Week, send your video (as a YouTube link) or track embed, band photo (please, don’t forget the photo!) and biog with quotes to us here.

LONELY ROBOT – THE RIVER

Lonely Robot have shared a new video for their latest single, the reflective The River. It’s the third single to be taken from the band’s farewell album, An Ending, which is released today through White Knight Records. It’s the sixth and final album from the band. And, dare we say it, one of their very best!

“The River represents the first time within the Lonely Robot universe that I have embarked upon a writing collaboration with someone, which in turn somewhat ironically renders the process a little less lonely,” mainman John Mitchell explains. “Writing and recording The River with Jez (Fielder) proved to be a most fruitful partnership centred around themes of memories and loss born of our shared life experience as a pair of adopted kids.”

ØLYP – MOLDEN

France-based instrumental prog metal duo Ølyp are a new one for us, but we’re mightily impressed with what we’ve heard so far. They are Thibaud Lépicier (guitar, bass, additional production) and David Annenkoff (drums) and they will release their debut album, I(m)MORTAL, through Klonosphere Records/Season Of Mist on November 25, on which the addition of violin, viola and cello, pushes the band’s cinematic side even further.

“I(m)MORTAL explores humanity’s increasingly fucked-up relationship with nature, environmental collapse and our own role in shaping what comes next,” the pair say. “And they do it without a single lyric, just massive instrumental landscapes that swing between beauty and total devastation.”

QUIVIRA – THE TURK/FOLLOW THE WIND

US progressive rock trio Quivira have shared a video for their latest single, The Turk/Follow The Wind. It’s taken from the band’s recently released self-titled debut album, which is out now through Melodic Revolution Records. The band hail from Topeka, Kansas and the connection is further emboldened by the fact the band feature Jake Livgren, nephew of Kansas founding member Kerry Livgren, as well as a member of Proto-Kaw. He’s joined by John Baker (Mars Hollow) and keyboardist Lisa LaRue.

The band’s debut album focuses on the story of pre-Kansas “Quivira”, the Native American villages that Coronado believed held gold.

KOMPENDIUM – LILLY

Steve Hackett stars in the new video from Robert Reed’s Kompendium project, a director’s cut of whose Beneath The Waves was released last week through Tigermoth Records. Hackett features on an extended version of the track Lilly. The original album was released in 2012, and alongside the former Genesis guitarist also featured the likes of Gavin Harrison, Nick Barrett, Jakko Jackzyk, Francis Dunnery, Chris Fry, John Mitchell, Nick Beggs, Troy Donockley, Mel Collins, Steve Balsamo and Angharad Brinn.

“I always thought the album was one of the best things I’ve ever done, so as it was out of print, I thought it would be a great opportunity to get the album to a new audience,” Reed says. “Also, there were some compromises made with the original album, as there always are towards the end of making any album. Some songs are left off because of time constraints, some not finished, and other choices made in the mix, as you really run out of time and have to say it’s finished at some point.”

GIANT SKY – LIFTING APPLES

Giant Sky, the solo project from Norwegian musician Erlend Viken, best known as the vocalist, keyboardist and principal songwriter of acclaimed progressive rock outfit soup, have shared their latest single, Lifting Apples. It’s taken from Giant Sky III, the third and final instalment of the band’s trilogy, which features a guest appearance from Mogwai’s Stuart Braithwaite. A companion album, The Further We Go The Deeper It Gets, will follow on October 16.

“This album has been with me for a long time,” says Viken. “Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross-section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit — taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn’t a quick album to make, but I’m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest.”

SAMUEL JACKSON FIVE – TEMPORARY HAPPINESS REVIVAL

The rather brilliantly named Norwegian instrumental art/prog/post-rock quintet, The Samuel Jackson Five, have shared their latest single, Temporary Happiness Revival. The track is taken from the band’s upcoming album, A Passage to Elsewhere, which is released through Karisma Records on October 30.

“Temporary Happiness Revival quickly became a unanimous favourite within the band, and one we knew early on that we were on to something special,” the band say. “Built around a sense of nostalgia and quiet optimism, the track aims to capture the feeling of warm summer evenings, the scent of youth. And a bittersweet longing for simpler times. Musically, it blends James Jamerson-inspired bass grooves, neoclassical piano, tape loop experiments, shimmering 80’s synth textures, and traces of imaginary folk music into a lush and layered sonic landscape.”

DITCH THE DEMON – MEAT HONEY

Hastings psych/prog rockers Ditch The Demon return with another new single, the distinctly creepy Meat Honey. No, we’re not sure what it means, either, but the band describe it as “a prog-rock’n’rollercoaster of a song about the Devil’s hunger for fresh souls.” The band’s forthcoming second studio album Fallen Angels, is now due for release early next year.

“Meat Honey came about after bassist Steph stumbled upon an article about vulture bees feasting on carrion, which sparked an idea for a tongue-in-cheek spin on rock music’s obsession with the Devil,” the band state. “The accompanying video was shot on a shoestring budget at a former Hastings tap house owned by a neighbour of vocalist Amanda Brooks-Byron. The band’s drummer Neil Warman does his best to look ‘seductive yet sly’ in his portrayal of Lucifer…”

Choosing a music production degree starts with the kind of producer you want to become. A student aiming for commercial records needs a different program from someone interested in audio software, immersive sound, live production, or post-production.

For 2026, Berklee College of Music, USC Thornton, NYU Steinhardt, the University of Miami Frost School of Music, Middle Tennessee State University, Drexel University, and Belmont University form a strong shortlist.

Each stands out for a different reason, from studio craft and musicianship to engineering depth, co-op experience, or direct access to major music markets.

The useful question is simple: do you want to leave college primarily as a producer, an engineer, a music technologist, or a hybrid?

Best Music Production Schools at a Glance

The table exposes the main distinction between programs. Some treat production primarily as a musical discipline. Others build the degree around engineering, technology, or industry practice.

The difference also affects academic workload. Programs with stronger technology, engineering, or research components can require substantial written work alongside studio projects, and students looking for additional academic support can use resources such as EssayPro when working through longer research assignments.

Berklee College of Music

Berklee remains a natural first stop for students who want production training inside a deeply musical environment. Its Music Production and Engineering degree covers multitrack recording, editing, mixing, studio systems, critical listening, commercial production, and production business.

The 120-credit Bachelor of Music has an important admissions wrinkle. Entry into the major is competitive after a student has already enrolled at Berklee, so admission to the college does not automatically secure a place in MP&E.

The program fits musicians who want to become producer-engineers and work constantly with performers, writers, arrangers, and other producers.

USC Thornton School of Music

Los Angeles gives USC a powerful setting. Film, television, games, labels, artists, composers, and independent creators operate within the same city.

USC Thornton lists a four-year, 132-unit Bachelor of Music in Music Production through its Music Technology program. Collaboration can extend across Thornton and into cinematic arts, engineering, design, and communication.

For a producer interested in records, visual media, songwriting, or technology, USC offers a broad creative ecosystem. Music Production applicants also face a substantial admissions process involving creative materials and auditions.

NYU Steinhardt

NYU is a strong choice for students drawn to the point where music meets technology. Its 128-credit B.M. in Music Technology combines recording, production, electronic music, audio for video, theory, and liberal arts.

Students can pursue areas such as recording and production, hardware and software, or electronic performance. New York City adds access to studios, venues, media companies, theatre, post-production, and technology firms.

A study-abroad semester is part of the degree, with listed opportunities in Prague, Paris, and Abu Dhabi. Applicants submit an artistic portfolio and need a basic level of musicianship.

University of Miami Frost School of Music

Frost stands out for students who want serious engineering inside a music-school environment. Its Music Engineering Technology program combines recording with mathematics, electrical or computer engineering, programming, and music study.

The curriculum includes calculus, circuits, processors, data structures, psychoacoustics, post-production sound, and recording. Frost suits technically strong musicians who can picture themselves producing a session and building the tools used to create it.

The school traces its music engineering program to the 1970s, giving it unusually deep roots in audio technology education.

Middle Tennessee State University

MTSU offers a broad path for students who want to explore several areas of professional audio before choosing a specialty.

The university’s B.S. in Audio Production covers recording and mixing, mastering, electronic production, live sound, sound for picture, sound design, immersive audio, and broadcast. The program sits outside the School of Music, so students do not face a traditional instrument audition.

Murfreesboro also sits close to Nashville. MTSU uses a candidacy process after foundational coursework, which makes academic performance part of progression into the major.

Drexel University

Drexel suits students who want production training and formal workplace experience during college.

Its Music Industry B.S. includes a Recording Arts and Music Production concentration with audio production, recording, mixing, mastering, live sound, post-production, and production management. Co-op education brings full-time professional experience into the undergraduate path.

The combination works well for students who want studio skills plus a practical view of how music companies, projects, and professional teams operate.

Belmont University

Belmont is a strong Nashville option for students who enjoy the technical side of sound.

Its Audio Engineering Technology degree is ABET-accredited and offers emphasis areas in studio recording, live audio, post-production, and audio technology and design. Facilities include professional studios and a Dolby Atmos mix stage.

Engineering sits firmly inside the curriculum. Students work with acoustics, systems, measurements, signal flow, and technical problem-solving alongside production practice. Producers fascinated by gear, room design, software, and the physics of sound will find a clear fit.

How to Choose the Right Program

Ignore the logo for a moment and inspect the curriculum. A famous school can still be a poor match if its required courses pull you away from the work you want to do.

Compare five areas before applying:

• Studio access: Check booking rules, available hours, and when advanced rooms open to undergraduates.
• Creative output: Look for recording projects, capstones, collaborative releases, and portfolio work.
• Technical depth: Decide whether you want coding, acoustics, electronics, immersive audio, or a producer-songwriter focus.
• Industry access: Consider internships, local studios, live venues, labels, and professional networking.
• Admissions and cost: Compare auditions, internal applications, scholarships, living expenses, equipment requirements, and total tuition.

One quick test works surprisingly well. Open each four-year course plan and mark every class you would be excited to take. The pattern becomes obvious fast.

Which University Is Best for Music Production?

Berklee is the strongest all-around choice for a musician focused on commercial production and engineering. USC stands out for Los Angeles collaboration and screen-media connections. NYU fits producers interested in technology and New York’s wider audio scene.

Frost is the clearest engineering-heavy option. MTSU provides broad audio coverage near Nashville, Drexel adds co-op experience, and Belmont combines technical audio study with direct access to Music City.

The right program should sharpen your ears, expand your technical range, and put you in rooms with collaborators who push your work forward. Great equipment helps. Years of purposeful practice and collaboration shape the producer who eventually leaves the studio door with a degree.

Stavanger-based black metal band UBUREN have released “Burn The Bridge,” the latest single from their forthcoming album, Dødsdans i Aske. The seven-track record will arrive on September 25, 2026, through Dusktone. The song introduces a record built around heavy rhythms, melancholic riffing and lyrics examining violence, solitude, suffering and the passage of time. Listen to […]

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Death metal groups, Fleshcrawl and Avulsed, will join forces for a string of co-headlining European tour dates this coming November. Italians Violentor will be joining them as support.
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