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  • QUEENS OF THE STONE AGE Announces U.S. 2027 Tour Dates

    Queens of the Stone Age has a U.S. tour lined up for May 2027 behind its upcoming album, Perfecth. The run kicks off May 1 at Viejas Arena in San Diego and hits big rooms like Kia Forum in Inglewood, Calif., and TD Garden in Boston. Outdoor stops at Red Rocks and American Family Insurance Amphitheater in Milwaukee are also on the schedule. Pixies and Wheelchair Sports Camp are supporting on every date.

    Pre-sale tickets open Oct. 28 at 10 a.m. local time, and the general public can buy starting Thursday, Oct. 29 at 10 a.m. local time.

    The tour announcement follows a busy week for the band. On Wednesday, Queens returned to NBC’s The Tonight Show Starring Jimmy Fallon to play “Where the Goth Girls At?” live for the first time. The song comes from Perfecth, due Oct. 30 through Matador Records. Earlier singles from the record include “Insignificant Other,” which Uncut labeled a “deliciously callous kiss-off,” and “Easy Street,” featuring Nikki Lane, which DIY called “decidedly surreal.”

    Halloween gets a rebrand as HalloQueen. On Oct. 31, participating retailers around the world will host release celebrations where fans can listen to the album, pick up exclusive merchandise and grab a very limited Perfecth picture disc while supplies last. Costumes are encouraged.

    Josh Homme and bandmate Michael Shuman produced Perfecth, which takes its cue from kintsugi, the Japanese practice of mending broken pottery with gold so the repair becomes part of the beauty. The album’s nine songs examine different kinds of love, including family, friends, and partners both significant and insignificant, along with the kinds that wreck you and the kinds that put you back together. Sessions took place in locations ranging from New Orleans to Los Angeles, and the resulting music swings between moody, menacing, gentle and strange.

    “Every song sounds like it’s from a different world,” Homme says. “And that’s on purpose, because it’s trying to stitch together all these emotions revolving around love, lust, foolishness, and the sort of wisdom that comes as a gift from all that.”

    The U.S. dates join previously announced stops in Iceland, Australia, New Zealand, Japan, Hong Kong and Singapore, plus the three Latin American editions of Lollapalooza. More headline shows will be announced in the coming weeks, and fans can sign up at qotsa.com for updates.

    The post QUEENS OF THE STONE AGE Announces U.S. 2027 Tour Dates appeared first on Sonic Perspectives.

  • DEEP PURPLE Shares Title Track & Music Video For “Splat!”

    Deep Purple has put visuals to the title track of its latest album, Splat!, which landed July 3 through earMUSIC. The clip is out now, so go ahead and give it a spin.

    Splat! is the sixth time the band has teamed with producer Bob Ezrin, who has manned the board for every Deep Purple record since 2013’s Now What?! A press release pegs the new one as “the heaviest Deep Purple album in many years.”

    Four singles have been pulled from the record: “Diablo,” “Arrogant Boy,” “Guilt Trippin’” and the title cut. “Diablo” comes with a guest, as Grammy-winning guitarist, singer and songwriter Keith Urban adds a second guitar to the track.

    Early reviews have been kind. Uncut described the album as “distilled, high-octane Purple at its finest,” while Classic Rock credited it with delivering “everything that makes Deep Purple one of the greatest acts in hard rock.”

    The concept behind Splat! originated with singer Ian Gillan. The record treats the end of humanity as a transformation instead of a wipeout, imagining a metamorphosis into something beyond physical existence rather than a standard-issue apocalypse.

    As for the résumé, Deep Purple has sold more than 120 million albums since forming in 1968 and has packed arenas around the world for decades. British station Planet Rock once ranked the band as the “Fifth Most Influential Band Ever.” Deep Purple also picked up the “Legend Award” at the 2008 World Music Awards and went into the Rock and Roll Hall of Fame in 2016, which is the sort of thing that earns a band the label “rock royalty.”

    The group’s catalog stretches across seven decades. The classic MKII lineup of Gillan, Roger Glover, Ian Paice, Jon Lord and Ritchie Blackmore built a run of defining early-’70s rock records, among them Made In Japan, widely considered one of the most important live albums ever cut. The band has kept touring and landing No. 1 albums ever since, rarely stopping to catch its breath.

    Recent studio work includes =1 (2024), Whoosh! (2020), inFinite (2017) and Now What?! (2013), all produced by Ezrin, whose résumé also features Kiss, Pink Floyd, Lou Reed and Alice Cooper. During the pandemic in 2021, Deep Purple and Ezrin also teamed up on Turning To Crime, a covers collection the band tracked from its members’ homes. That was a notable change of routine for a group that normally records live in the same room.

    The post DEEP PURPLE Shares Title Track & Music Video For “Splat!” appeared first on Sonic Perspectives.

  • She’s In Charge | Mary Anning: The Woman Who Unearthed An Old World

    There was a time when discovering something extraordinary wasn’t necessarily enough to make you a scientist. In nineteenth-century England, the scientific world was largely a gentlemen’s club, populated by educated men with the money, connections, and social standing to pursue their interests. Women were generally expected to occupy themselves elsewhere, and those born into poverty had even less chance of being taken seriously. Never mind that nature had no particular preference for wealthy men. The institutions studying it certainly did. And somewhere along the southern coast of England, a young woman named Mary Anning was about to give those gentlemen quite a lot to think about.

    Mary was born in 1799 in Lyme Regis, a coastal town in Dorset, where her father, Richard Anning, worked as a carpenter and collected fossils to sell to visitors. He taught Mary and her older brother Joseph how to find and clean the strange objects that washed out of the surrounding cliffs. The family had very little money, and when Richard died in 1810, things became considerably worse. Mary had received little formal education, but she’d spent much of her childhood searching the coastline with her father. Fossils were a source of income, though she was becoming increasingly interested in understanding what they actually were.

    In the autumn of 1811, Joseph found the skull of an enormous prehistoric creature. Mary went looking for the rest and, in 1812, began excavating a skeleton roughly five metres long. She was only twelve years old. The animal was an ichthyosaur, a marine reptile that had lived millions of years earlier, and the specimen became one of the first largely complete examples to attract serious scientific attention. It was an extraordinary find for anyone, let alone a child who had learned her trade on the beach. While established scientists had libraries, collections, and academic connections at their disposal, Mary was digging through the cliffs of Lyme Regis and discovering creatures that nobody alive had ever seen.

    And she was only getting started.

    On December 10, 1823, Mary discovered an almost complete plesiosaur skeleton. Unlike the ichthyosaur, this creature had a remarkably long neck, a small head, and proportions that seemed almost impossible. So impossible, in fact, that Georges Cuvier, one of Europe’s leading naturalists, suspected the skeleton might be a fraud, assembled from pieces of different animals. The discovery attracted considerable attention, and in February 1824, the Geological Society of London gathered to examine and discuss the specimen. Mary wasn’t there. She had found it, excavated it, and supplied the drawings that helped scientists study it, but women weren’t admitted to the Society’s meetings.

    Cuvier eventually accepted the specimen as genuine after further evidence was presented. Mary’s plesiosaur was real, no matter how improbable it looked. To be fair, questioning an unusual discovery is exactly what scientists should do. Cuvier had every reason to investigate a creature unlike anything previously known. The strange part is that the woman with firsthand knowledge of the fossil couldn’t take part in the discussion. Her discovery could enter the room, apparently. She couldn’t.

    By then, Mary had become much more than someone who collected unusual objects to sell. In 1828, she found the first pterosaur skeleton identified outside Germany. She discovered fossil fish and helped researchers understand coprolites, which are fossilized droppings. They might not sound particularly glamorous, but they provided valuable evidence of what prehistoric animals ate. Her knowledge of anatomy and the fossils found around Lyme Regis grew through years of observation, and scientists began visiting her to examine specimens, discuss discoveries, and purchase fossils for their collections. Some travelled considerable distances because Mary knew things they wanted to learn.

    Yet the Geological Society of London remained closed to her. It wasn’t until 1919 that women could become Fellows, seventy-two years after Mary’s death. The men who worked with her weren’t all dismissive, of course. Henry De la Beche, a geologist and longtime friend, respected her work and helped her financially. Others sought her advice and acknowledged her expertise. But some researchers published findings based on fossils she had discovered without properly crediting her. Whatever individual scientists thought of Mary, the rules governing their institutions were another matter. She could contribute to the work, provide the evidence, and answer their questions. Becoming one of them was apparently asking too much.

    Mary wasn’t always content to let the published experts have the last word, either.

    In 1839, Edward Charlesworth, editor of the Magazine of Natural History, published a description of a fossil shark called Hybodus. Mary had discovered the fossil jaw he was discussing, and when Charlesworth asked her for information, she pointed out that the feature being described was hardly new. She had encountered similar specimens before and discussed them with the naturalist Louis Agassiz. Her response was published in the journal, making it the only scientific contribution known to have appeared under her name during her lifetime. Charlesworth replied rather dismissively, suggesting that her interpretation was mistaken. One can only imagine how much that impressed a woman who had spent decades examining the very fossils under discussion.

    The exchange was relatively small, but it says something about Mary that her famous discoveries alone cannot. She wasn’t merely supplying specimens for better-educated men to interpret. She understood what she was finding and had developed opinions based on her own experience. When she believed a published account needed correcting, she said so. She had no university degree to lend authority to her words, although considering what she had already discovered, that seems a rather poor way to measure what she knew.

    For all her accomplishments, Mary never enjoyed much financial security. Fossil hunting wasn’t a hobby she could afford to abandon whenever business was slow. It was how she earned her living, and even the most remarkable discoveries didn’t necessarily pay enough to keep her comfortable. Friends and supporters helped her during difficult periods, but money remained a concern. There was a rather cruel imbalance between the scientific importance of her work and the financial rewards she received for it. Fossils that would eventually become treasured museum specimens had first passed through the hands of a woman trying to earn enough to live.

    Mary died of breast cancer on March 9, 1847, at the age of forty-seven. Henry De la Beche later paid tribute to her in the Quarterly Journal of the Geological Society, giving recognition to a woman who had never been eligible to join the institution. Her discoveries continued to inform the developing science of paleontology, particularly the study of prehistoric animals and extinction. By the time the Geological Society finally admitted women as Fellows in 1919, Mary had been dead for more than seven decades.

    It’s tempting to look at her story and celebrate how far science has come. And there certainly is something worth celebrating in the life of a woman who taught herself to understand creatures buried for millions of years beneath the English coast. But that doesn’t make the circumstances of her career any less frustrating. Mary didn’t spend her life campaigning to change the rules of scientific institutions. She was busy working, learning, and earning a living. Her discoveries were enough to attract the attention of some of the most respected scientists in Europe, yet they couldn’t open the doors that her sex and social class kept closed. She left behind evidence that changed what people knew about the history of life on Earth. The people in charge were fortunate she never waited for their permission.


    Sources and Footnotes

    1. Natural History Museum, London. “Mary Anning: The Unsung Hero of Fossil Discovery.” Biographical information, early life, fossil discoveries, and financial circumstances.
      https://www.nhm.ac.uk/discover/mary-anning-unsung-hero.html
    2. The Geological Society of London. “Mary Anning and the Geological Society.” Historical records concerning her relationship with the scientific establishment and the research based on her discoveries.
      https://www.geolsoc.org.uk/the-library/online-exhibitions/mary-anning-and-the-geological-society/
    3. The Geological Society of London. “Plesiosaurus dolichodeirus.” Details of the December 1823 discovery, the February 1824 meeting, and Georges Cuvier’s initial doubts.
      https://www.geolsoc.org.uk/the-library/online-exhibitions/mary-anning-and-the-geological-society/reconstruction-of-life/plesiosaurus-dolichodeirus/
    4. Natural History Museum, London. “Mary Anning Fossils: Seven Highlights from the Jurassic Coast.” Anning’s major discoveries, including the pterosaur and her scientific publication.
      https://www.nhm.ac.uk/discover/mary-anning-fossils.html
    5. The Geological Society of London. “Magazine of Natural History.” Archival documentation of Mary Anning’s 1839 response to Edward Charlesworth concerning Hybodus.
      https://www.geolsoc.org.uk/the-library/online-exhibitions/mary-anning-and-the-geological-society/bibliography-mary-anning/magazine-of-natural-history/
    6. Oxford University Museum of Natural History. “Mary Anning.” Overview of her scientific contributions and exclusion from the Geological Society.
      https://www.oumnh.ox.ac.uk/learn-mary-anning-0

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  • FLEETWOOD MAC Hand Apple TV the Keys to Their Own Story in “Fleetwood Mac: The Chain” This January

    Fleetwood Mac is finally handing the microphone to the people who lived the story. Fleetwood Mac: The Chain, a fully authorized documentary from Apple Original Films, arrives globally on Apple TV on Friday, January 29, 2027, and it is the first time the band’s members have narrated their own history on film.

    Frank Marshall, a five-time Academy Award nominee and winner of the Irving G. Thalberg Memorial Award, directs. The film is produced by The Kennedy/Marshall Company and White Horse Pictures. It pulls together the recollections of Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks, all Rock and Roll Hall of Fame inductees and Grammy winners.

    The title is a nod to “The Chain,” the lone song on Rumours with writing credits shared by all five members. Apple pitches the track as a fitting symbol for a group that stayed bound together through chaos, and the film’s release lines up with the 50th anniversary of that album.

    The story starts with the lineup’s 1974 meeting and runs through the band’s 50-plus-year history to the present day. Expect never-before-seen footage and new interviews with the members. The documentary digs into how personal grit and serious musical chops produced songs that have outlasted their era, and it examines what kept pulling the group back together when pressure from inside and outside the band threatened to tear it apart. By Apple’s count, the band has sold more than 220 million records worldwide.

    Behind the camera, Marshall is joined by White Horse Pictures’ Nigel Sinclair, Nicholas Ferrall and Jeanne Elfant Festa, along with Kennedy/Marshall’s Aly Parker. Cassidy Hartmann of White Horse and Tony Rosenthal of Kennedy/Marshall are executive producers. Mark Monroe of Diamond Docs is the writer and also an executive producer.

    Fleetwood Mac: The Chain joins an Apple Original Films documentary slate that includes Still: A Michael J. Fox Movie from Davis Guggenheim, Selena Gomez: My Mind & Me and Steve! (Martin) A Documentary in 2 Pieces, which features Steve Martin. For more information, visit here.

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  • Review TONY IOMMI “From the Dark”

    Anyone landing on this blog already knows Tony Iommi. The legendary guitarist didn’t just influence an entire genre with his riffs, playing, and passion—alongside Black Sabbath, he helped lay the foundation for heavy metal itself. As we all know, Black Sabbath eventually called it a day after the The End tour and their final, historic… Continue Reading →
  • SUICIDE SILENCE Unleashes “Reminders Of Hell” From Upcoming Album “Graceless”

    Having already dropped two singles and their accompanying videos, Suicide Silence now unveils “Reminders of Hell.” The ferocious new track arrives alongside a drum playthrough video, showcasing the remarkable skill, precision, and intensity of drummer Ernie Iniguez.

    “Graceless is a crusher, ‘Make Your Exit’ is a bouncer, and now it’s time to go into the depths for ‘Reminders of Hell’. This track is a little more multidimensional and is sure to get you banging your head. Check out our own Ernie Iniguez ripping through it on the drum play through we just dropped”, says the band.

    Graceless will be available here, in the following formats:

    • Standard CD Jewelcase
    • black LP
    • Ltd. pearlescent sunrise LP (300x) EMP / UK indie stores
    • Ltd. iridescent pearl horizon LP (400x) available from Impericon & Suicide Silence
    • Translucent Tan LP (US version)
    • Ltd. Caramel Cream LP (US version) (500x) available from US indie retailers
    • Ltd. Orange Smoke LP (US version) (300x) available from Metal Injection
    • Ltd. Mineral LP (US version) (300x) available from Revolver
    • Ltd. Gold Black Ice LP (US version) (400x) available from Suicide Silence
    • Digital album

    Deathcore didn’t invent itself. The crushing combination of classic death metal ferocity with hardcore-punk spirit was created in garages and grimy venues. It was celebrated on message boards, in comment sections, and in sweaty, anarchic spaces where hardcore kids and death metal obsessives gathered. As the burgeoning subgenre formed, teenage metalheads dared one another to get heavier.

    Suicide Silence made their logo synonymous with the most volatile and definitive stomp of the postmodern sound. Since their first rumblings in California’s Inland Empire in the early 21st Century, the band’s fusion of sonic violence, punk confrontation, and unapologetic nü-metal bounce put a fresh face on extreme metal.

    Suicide Silence remains stubbornly communal. They have always written best with bodies in a room, amps cranked, and friendly arguments evolving into arrangements. That collective instinct gives Graceless its strange comfort amid the chaos. It is vicious, ugly, physical, immediate, and fully inhabited by a band that survived every argument about what it was supposed to be.

    As Garza puts it, the goal was to “just get out of the way and serve that band logo. When we choose to do that, great things follow. We’re back to doing it exactly as we did it when we were kids: just playing heavy shit and doing it from the heart.”

    Deathcore was once a word thrown at them as a limit. Today, it’s a flag planted in the dirt. Twenty-four years after their first noise from SoCal, Suicide Silence stands in rare company: survivors who never mistook endurance for safety, craftsmen more than capable of making instinct sound like impact. Graceless is the circle closing, hard, with newly sharpened teeth, hungry for future conquest.

    The next chapter begins with the North American “Reminders of Hell” headline tour, featuring support from Emmure, AngelMaker, and Synestia.

    NOV 6 Riverside, CA – Riverside Municipal Auditorium
    NOV 7 Mesa, AZ – The Nile Theater
    NOV 9 Houston, TX – Warehouse Live Midtown
    NOV 10 Dallas, TX – South Side Music Hall
    NOV 11 San Antonio, TX – The Rock Box
    NOV 13 Atlanta, GA – The Masquerade
    NOV 15 Greenville, SC – Radio Room
    NOV 17 Greensboro, NC – The Pyrle
    NOV 18 Baltimore, MD – Baltimore Soundstage
    NOV 20 Philadelphia, PA – Theatre of The Living Arts
    NOV 21 Worcester, MA – Palladium
    NOV 22 Brooklyn, NY – The Brooklyn Monarch
    NOV 24 Montréal, Canada – Club Soda
    NOV 25 Toronto, Canada – The Concert Hall
    NOV 27 New Kensington, PA – Preserving
    NOV 28 Cleveland, OH – Globe Iro
    NOV 29 Detroit, MI – Saint Andrew’s Hall
    DEC 1 Chicago, IL – House of Blues Chicago
    DEC 2 Maplewood, MN – Myth Live
    DEC 4 Denver, CO – Summit Music Hall
    DEC 5 Salt Lake City, UT – The Complex
    DEC 6 Boise, ID – Treefort Music Hall
    DEC 8 Seattle, WA – The Showbox
    DEC 9 Portland, OR – Hawthorne Theatre
    DEC 10 Sacramento, CA – Ace Of Spades
    DEC 11 Reno, NV – Cargo Concert Hall
    DEC 12 San Jose, CA – The Ritz
    DEC 13 Los Angeles, CA – 1720™

    The post SUICIDE SILENCE Unleashes “Reminders Of Hell” From Upcoming Album “Graceless” appeared first on Sonic Perspectives.

  • Sonic Temple Art + Music Festival Announce Line-Up

    Sonic Temple Art + Music Festival is back to lay its stake as The Pinnacle of Rock Festivals in America with its biggest event yet, May 13-16, 2027 at Historic Crew Stadium in Columbus, Ohio. 2026 brought a record-breaking 184,000 music fans and festival producer Danny Wimmer Presents is ramping up the bands and experiences […]