Irish rock group Florence Road released a new single today, but if you’ve been to any of their shows over the last couple of years, you might recognize “7563.” “So happy to finally release this song, after two years of playing it live,” the band shared on social media.
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Empress Of is gearing up for the release of her new album Dream House, the follow-up to 2024’s For Your Consideration, arriving next month. She has already shared the title track and the striking, orchestral string-led single “Wild Storm.” Today, she’s back with “SYW,” a collaboration with Cecile Believe.
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It’s a big week for Ry Cooder, whether he knows it or not. First, in my interview with Sam and Louise Sullivan, Sam noted that he interpolated a guitar part from Cooder’s “How Can A Poor Man Stand Such Times And Live” on their song “Ms. Mercedes.” Now Deloyd Elze has released a new Cooder cover.
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Rush fans have two reasons to circle October 2 on the calendar, as the UMe/Mercury and Anthem Records camps keep the band’s resurgence rolling with a pair of vinyl releases timed to the ongoing “Fifty Something” tour.
Leading the charge is a 50th-anniversary liquid vinyl pressing of Rush‘s 1976 breakthrough 2112, an album that’s since gone quadruple platinum. A limited batch first hit shelves exclusively at the UMusic Shop in New York City in late July, coinciding with Rush‘s run of four sold-out Madison Square Garden shows. The liquid vinyl edition draws its look from the record’s iconic artwork, with a die-cut sleeve that lets the swirling vinyl itself become part of the cover. It’s now up for pre-order as a Sound Of Vinyl exclusive.
Producer Terry Brown was back behind the board for 2112, and the sprawling, seven-part title track that dominates side one cemented Rush as one of the era’s most ambitious bands. Clocking in past 20 minutes, “2112” follows one man’s fight against a controlling system, a theme that hasn’t lost any of its bite five decades on.
Side two spreads the writing credits around. Neil Peart penned both “A Passage To Bangkok,” a travelogue of highs and lows on the road, and “The Twilight Zone,” a tip of the hat to a pair of episodes from Rod Serling‘s classic anthology series. Alex Lifeson‘s slide-guitar showcase “Lessons” sets up Geddy Lee‘s tender “Tears,” before “Something For Nothing” closes things out with Peart‘s take on choices and consequences.
The second release marks the first-ever vinyl pressing of the band’s 2003 compilation The Spirit Of Radio: Greatest Hits 1974-1987, wrapped in artwork from longtime creative director Hugh Syme. The set arrives in two forms: a full 16-track 2LP pressed on 180-gram black vinyl, and a trimmed-down, retailer-exclusive 10-track single LP. The two share nine songs, but “Finding My Way,” the opener from Rush‘s self-titled 1974 debut, only shows up on the single-disc version. Both are open for pre-order now.
The Spirit Of Radio runs through a heavy stretch of Rush staples, opening with the muscle of “Working Man,” the homesick sprawl of “Fly By Night,” the us-versus-them framework of “2112: Overture / The Temples Of Syrinx” and the emotionally bare “Closer To The Heart.” From there it moves into the character study of “The Trees,” the radio-static joy of “The Spirit Of Radio,” the odd-meter workout “Freewill” and the quietly prophetic “Limelight,” a meditation on artists guarding their privacy while chasing the spotlight.
The tracklist also pulls in the concert warhorse “Tom Sawyer” and the high-speed backroads thriller “Red Barchetta,” along with the reggae-inflected “New World Man,” which topped Canadian charts and gave Rush its only U.S. Top 40 hit, peaking at No. 21 on the Billboard Hot 100. The synth-heavy “Subdivisions” rounds things out with its portrait of restless suburban youth.
Later cuts include “Distant Early Warning” from 1984’s Grace Under Pressure, the Top 50 single “The Big Money” and 1987’s “Force Ten,” which hit No. 3 on Billboard’s Mainstream Rock Airplay chart. Closing both versions is “Time Stand Still,” notable for featuring one of the rare outside voices on a Rush record: ‘Til Tuesday’s Aimee Mann, whose haunting counter-vocal plays off Lee‘s lead. Mann joined the band onstage at the Kia Forum in Los Angeles back in June, singing the track live with Rush for the first time during the tour’s opening dates.
Rush‘s widely praised “Fifty Something” tour continues across North America through the rest of 2026, with South American and European legs planned for 2027. Founders Lee and Lifeson, joined by drummer Anika Nilles and keyboardist Loren Gold, launched the trek in Los Angeles, marking the band’s first tour in 11 years. Each stop features two sets pulled from a rotating 40-song pool spanning the band’s five-decade catalog.
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Iron Maiden have, in their time, covered Jethro Tull, Focus and Beckett tracks. It’s a matter of fact that bassist Steve Harris and singer Bruce Dickinson are both prog fans. The genre has permeated their music since the late 80s, so it wasn’t too difficult to present a list of their 10 proggiest moments in 2024. And as the bassist told us: “Prog taught me to do whatever the hell you want to do – go in any direction you want to.” Amen to that.
This cover of the 1971 Jethro Tull song from Aqualung was the b-side to The Trooper single, and the first indication for many fans that there was some love for prog rock within Maiden’s ranks. Unlike Dickinson, who’s performed with Tull mainman Ian Anderson, Harris tells Prog: “I’ve never met himn. I sort of don’t want to, because I love his music so much.”
Nestled away on the b-side to 1984 single 2 Minutes To Midnight is this cover of a song by 70s UK prog rockers Beckett. Their main claim to fame was singer Terry Wilson-Slesser, later the vocalist for Backstreet Crawler and Geordie, who was linked with AC/DC after Bon Scott‘s death. He also unsuccessfully auditioned for Maiden after Paul Di’Anno left. Band manager Rod Smallwood had been an agent for Beckett and a young Harris had seen the band play live.
The epic closing track for 1984’s Powerslave album was the first Maiden-penned tune to offer a glimpse of the band’s proggy proclivities. It’s based on Samuel Taylor Coleridge’s 1798 epic poem of the same name (Rush had previously based Xanadu on Coledridge’s Kubla Khan). “It might be significant that my two favourite pieces of music of all time are Supper’s Ready and Thick As A Brick,” says Harris of his lengthy compositions.
It was all-out prog rock by 1988, with keyboards introduced into the Maiden sound for the first time. The title track of the band’s seventh album – their first ever concept record – was the proggiest of the lot . “A lot of thought went into it,” says Harris. “It was a good change for us and I think it worked really well.”
For their first album after Dickinson had left, to be replaced by Blaze Bayley, Maiden didn’t go for the easy option. Instead they opened The X Factor with this 11-minute epic and its moody intro of chanting monks, building the suspense until it explodes in emphatic style.
The band’s passion for prog really came to the fore when Dickinson returned for 2000’s Brave New World – especially this 9-minute workout. “I don’t really know the reason for it,” says Harris of Maiden’s increased progginess since then. “It was the way it naturally evolved.”
Although he normally writes shorter, more commercially minded material, guitarist Adrian Smith got his prog on with this epic about the Battle Of Paschendale from WWI on the Dance Of Death album. Did you know the infantryman’s outfit donned by Dickinson when the band performed this song live was in fact Hungarian, and not British, as many thought? Take that to your next pub quiz with you.
Another epic album closer from 2010’s The Final Frontier, this time clocking in at almost 11 minutes and as complex as you get with Maiden. Penned by Harris alone, it soon proved to be a live favourite in the band’s set.
With its laid-back piano intro, the final track on 2015’s The Book Of Souls remains the longest song on any Maiden album. Penned by Dickinson, the song tells the story of the British R101 airship, which crashed in northern France on 5 October 1930 during its maiden voyage. “I just had to say to him, ‘You’ve outdone me, you bugger!’” laughs Harris.
You could take any of the final three tracks – all written by Harris – from 2020’s Senjutsu, and make a case for them being some of the band’s proggiest. Indeed, on the vinyl version, the last disc almost becomes a standalone Maiden prog album! We’ve gone for Death Of The Celts, a stridently uplifting tale of days of yore. A bit Spinal Tap? Never…
(Here we have Comrade Aleks’ interview of Antonio Ortiz from the Bolivian doom metal band Lachrima Corphus Dissolvens, whose latest album was released this past April.) Lachrima Corphus Dissolvens is the rare (or only?!) representative of death-doom metal in Bolivia. Being founded in La Paz in 2003 by Antonio Ortiz (vocals) and Beyson Gibson (guitars) […]
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Darren Flynn’s rendition of “I Still Haven’t Found What I’m Looking For” presents a country and bluegrass interpretation of this iconic U2 song, and it genuinely resonates. Flynn has infused the classic with the right energy, adapting it skillfully to create a vibrant rendition. The banjo in the background plays a rapid progression, while the guitar complements the rhythm set by the drums. This instrumental arrangement is truly remarkable.
Flynn’s voice carries the necessary energy for this song. It possesses a timbre typically associated with Nashville artists, and when you close your eyes, it transports you straight to the Appalachian mountains. The bright and lively rhythm uplifts the mood, even though the original song carries a sense of nostalgia. This version feels more radiant, akin to a morning sun that warms your skin like a crisp breeze.
The tempo of this interpretation drives forward, creating an enjoyable atmosphere. You’ll find yourself in a better state of mind while listening. The melancholy of the original is transformed here, as the upbeat sound offers a refreshing perspective on the lyrics. Flynn manages to elevate the song, making it feel like a celebration rather than a reflection on longing.
Minor harmonica solos occasionally enrich the melody, adding delightful textures throughout the track. These elements serve to highlight Flynn’s creativity in this cover. Each note played feels intentional, and the production quality is sublime. Flynn has taken a familiar song and made it his own while respecting its roots.
The arrangement holds onto the essence of the original. Yet, it enhances the energy significantly, creating a version that feels dynamic and full of life. The instrumentation creates an engaging atmosphere that encourages the listener to join in. This approach ensures that the song does not merely float by but rather resonates in a way that is memorable.
This rendition also stands out due to the exceptional production quality. Every element is balanced, allowing for a clean listening experience that highlights the nuances of the instrumentation and vocals.
Darren Flynn’s version of “I Still Haven’t Found What I’m Looking For” is a remarkable reinterpretation. This cover is not only enjoyable but also provides an interesting contrast to the original song. Anyone seeking a delightful musical experience should definitely give this track a listen.
Flynn’s genius lies in transforming a deeply reflective piece into an anthem of hope and brilliance. Rooted in country and bluegrass influences, this song offers listeners a journey worth taking. The harmony and rhythm draw you in, making it difficult to resist tapping your feet along with the beat.
In conclusion, the combination of modern vibrancy and traditional sounds creates a whole new life for this track. It showcases Flynn’s ability to elevate a well-known piece into a vibrant celebration of music. Fans of both U2 and country music should not miss out on this brilliant remake.
Genuine
If you love this music: Discover MoreThe post Darren Flynn I Still Haven’t Found What I’m Looking For Review appeared first on Edgar Allan Poets – Noir Rock Band.
Melodic hard rockers Mystery Moon have today released their new single ‘Dreamland (Garden Of Eden‘. ‘Dreamland (Garden Of Eden)‘ is the second single from Mystery Moon‘s second album ‘Way Beyond‘ (release date on Pride & Joy Music: September 18tth, 2026. Pre-save the album – here Mystery Moon are back with their second album, ‘Way Beyond‘, making […]
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Sheffield’s own soul-swaggering, electrifying power trio, Lightning Threads, have released the video for the new single Devil Inside Me. A raucous breakout from bitter times, the track oozes filthy guitar riffs, fuzz-led solos, and vocal hooks covered in grit. Think vintage valve amps cranked within an inch of their life and overdriven vocals that harken back to that ’70s sound.
The track comes with an accompanying film. “We wanted to look back at those early psychedelic music videos of the mid to late ’60s,” the band said. “We repurposed footage captured by Andy Boyd at Witney Music Festival 2026, which has ended up being one of the highlight gigs of the year for us so far.”
Devil Inside Me is taken from the album Trinkets, which is out now. From their inception in 2019 through the launch of their debut record Off That Lonely Road, Trinkets makes another step up in class for Lightning Threads.
With Tom Jane on guitar and lead vocals, slinging riffs and licks, Sam Burgum on bass and vocals, locking down the low-end groove with Hugh Butler on drums and keys, the trio look an exciting addition to Blue Nation on their headline run from September.
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From the very first chord, “Inner Voice – Live” alerts you to an experience that will be intense and forceful. The rhythm is intense and epic, reminiscent of a Valkyrie’s charge confronting you directly. The guitars deliver powerful riffs that slice through the air, creating an aggressive backdrop. The drummer pounds away with the strength of a blacksmith striking an anvil, establishing a robust foundation for the track.
As the vocals enter, they alternate between raw screams and more seraphic melodic moments with remarkable precision. This dynamic range adds a layer of complexity to the performance, ensuring that listeners remain engaged throughout. The continuous changes in harmony and rhythm keep the song interesting, preventing any sense of predictability from settling in.
The band has dedicated considerable time rehearsing to achieve such an admirable sound chemistry. The song exudes a dystopian and epic quality that energizes the listener, creating an electric atmosphere. The live performance is solid, reflecting the band’s experience. Their cohesiveness and intensity shine through, enhancing the overall impact of the piece.
Around the 2:40 mark, the bridge emerges with a beautiful chord progression that evokes memories of System of a Down. This memorable moment showcases the band’s capacity to merge powerful sections with more melodically intense ones seamlessly. The contrasting dynamics within the song highlight the band’s versatility and depth.
The concluding moments of the track re-establish that intense rhythm, drawing the audience into a frenzy of sound. Each element described earlier is amplified, making this live rendition an exhilarating experience. The audience appreciates the effort and artistry poured into the performance, as they respond with enthusiasm and energy.
“Inner Voice – Live” possesses all the makings of an anthem that transcends the traditional boundaries of the genre. It invites listeners to lose themselves in its intensity while reminding them of the melodic beauty within the chaos. The experience is uplifting and thrilling, encouraging listeners to explore the intricate layers of sound that the band has crafted.
No Less Violent has successfully composed a track that balances heaviness with moments of reflection, appealing to fans of various musical backgrounds.
By integrating influences while maintaining a unique edge, the band invites listeners to delve into their world. Overall, “Inner Voice – Live” is a proud representation of what the band stands for, showcasing their artistic ambition and relentless drive to captivate their audience.
This song stands as a strong example of not only No Less Violent’s musical ability but also their understanding of live performance dynamics. If you are seeking an energetic listening experience that offers power and emotion, I recommend you engage with this piece. It’s a remarkable composition that deserves attention from new listeners and dedicated fans alike.
Energizing
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