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Power metal collective Avenford has recently released two new songs, “Release The Fire” and “Modern World”, which can be listened to via YouTube below.
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In composing a list of 20 songs about goodbye, there were some that I just couldn’t bear to put on this list. Songs that were just so obvious, like John Denver’s “Leaving on a Jet Plane,” Supertramp’s “Goodbye Stranger,” and many of the common ones, are ones that I just wanted to stay away from. Of course, there are plenty on here that everyone is going to think of, and that’s okay; these are songs that I really liked. But I also wanted to dig a little deeper like we always do on these lists, and I think we came

The post Top 20 Goodbye Songs appeared first on ClassicRockHistory.com.

ETERNAL RECURRENCE presents the debut self titled EP, Eternal Recurrence. Led by composer and multi-instrumentalist C. Alex Luke, ETERNAL RECURRENCE embraces the symphonic metal genre from an alternative perspective with orchestral arrangements drawn from chamber music. The new EP release arrives alongside a music video for the track “Precious Stones“. 

The creative process behind “Precious Stones” differs from the rest of the track list on Eternal Recurrence as it was the first song written for the EP dating back to the COVID pandemic. Initially composed as a straightforward metal track with no symphonic elements, “Precious Stones” was subsequently reworked to incorporate the chamber music arrangement and adhere to the new creative direction for ETERNAL RECURRENCE. 

Eternal Recurrence – Track List:

1. Precious Stones
2. 8 by 8 
3. Amor Fati 
4. Relativity 
5. Eternal Recurrence 

“Precious Stones” features two guest vocalists. Mordian of DIAMORTE and SHIELD OF WINGS delivers a powerful alto performance during the chorus and bridge, while James Dorton of BLACK CROWN INITIATE, DIAMORTE and NE OBLIVISCARIS contributes harsh vocals to the heavier sections of the song.

Furthermore, “Precious Stones” is the only song on the EP not written by C. Alex Luke. The lyrics were written by Jake Thiele, Luke’s former bandmate from UNTIL EXTINCTION. On the lyrical theme Thiele shares, “In short, ‘Precious Stones’ is about the futility and stupidity of the things that divide us and how we let them suck the enjoyment out of life.”

All material on Eternal Recurrencewas composed around a chamber ensemble led by German Dmitriev on violins, Steven Schumann on cellos, Maciek Szczyciński on double bass, and C. Alex Luke on piano. These elements are combined with aggressive guitars, lead work, and drumming rooted firmly in modern metal. The EP cover artwork and layout is by Timur Khabirov at All4band Design, and the project’s logo was designed by Pavel Kurbanov at All4band Design.

About ETERNAL RECURRENCE:

ETERNAL RECURRENCE is a symphonic metal project based in Chicago, Illinois, founded in 2025 by multi-instrumentalist and composer C. Alex Luke. Known for blending progressive and extreme metal with classical instrumentation, the project takes a chamber music approach to symphonic metal, prioritizing the nuance and expressiveness of real musicians over large-scale orchestral simulation.

Drawing influence from bands such as KAMELOT, EPICA, OPETH, DREAM THEATER, and REVOCATION, ETERNAL RECURRENCE balances intricate compositions with aggressive modern metal. While traditional symphonic metal often relies on massive orchestras or dense sampled arrangements, ETERNAL RECURRENCE was created around the belief that the human touch of live performance remains essential, especially in an era increasingly shaped by artificial intelligence.

Rather than emulating 19th and 20th century symphonic traditions, the project looks to chamber music for inspiration. Chamber ensembles are designed for smaller spaces and intimate performances, emphasizing clarity, interaction, and detail. This philosophy defines the sound of ETERNAL RECURRENCE.

All material on the debut release, Eternal Recurrence, was composed specifically for a chamber string ensemble alongside full metal instrumentation.

Eternal Recurrence serves as both an introduction and a mission statement, presenting symphonic metal that values realism, restraint, and emotional detail without sacrificing heaviness or intensity. The project exists at the intersection of classical tradition and modern metal, focused on authenticity, composition, and the expressive imperfections that only human performers can provide.

Connect With ETERNAL RECURRENCE:

• Website: https://eternalrecurrencemusic.com/
• Bandcamp: https://eternalrecurrencemusic.bandcamp.com
• E-Shop: https://eternalrecurrencemusic.com/
• Facebook: https://www.facebook.com/EternalRecurrenceMusic
• Instagram: https://www.instagram.com/eternalrecurrencemusic/

Source: C Squared Music

Music often runs in the family. While talent alone doesn’t guarantee success, growing up around great musicians can provide inspiration, mentorship, and a deep appreciation for the craft. In the world of blues and blues rock, several artists have followed their fathers into music and built impressive careers of their own.

From Southern rock royalty to modern blues torchbearers, these artists have honored their family legacies while forging their own paths.

Devon Allman

As the son of Gregg Allman, Devon Allman was born into one of the most influential musical families in American music. Rather than simply relying on the Allman name, Devon spent years developing his own voice as a singer, songwriter, and guitarist. Through projects like Honeytribe, the Devon Allman Project, and The Allman Betts Band, he has carried forward the spirit of Southern rock while adding his own modern touch. His commitment to roots-based music has made him one of the most respected artists of his generation.

Duane Betts

The son of legendary Allman Brothers Band guitarist Dickey Betts, Duane Betts grew up surrounded by some of the greatest musicians in Southern rock history. Named after Duane Allman, he was destined to have music play a major role in his life. Betts has established himself as an accomplished guitarist and songwriter through his solo work and as a member of The Allman Betts Band. While traces of his father’s melodic guitar style remain evident, Duane has developed a sound that is uniquely his own.

Marcus King

Marcus King’s musical roots run deep. His father, Marvin King, is a guitarist and performer who introduced Marcus to music at an early age. Marcus began playing guitar as a child and quickly developed into one of the most exciting blues-rock talents of the modern era. His soulful voice, fiery guitar playing, and genre-blending approach have earned him widespread acclaim. Though he has achieved a level of fame far beyond his father’s regional success, Marcus frequently credits his family for shaping his musical foundation.

Shemekia Copeland

The daughter of Texas blues legend Johnny Copeland, Shemekia Copeland grew up immersed in the blues. Her father was an influential performer who shared stages with some of the genre’s biggest names. After Johnny’s passing in 1997, Shemekia emerged as one of the most powerful voices in contemporary blues. Her commanding vocals and socially conscious songwriting have earned multiple Grammy nominations and countless awards, helping her become one of the genre’s most important modern ambassadors.

Bernard Allison

Luther Allison was one of the most electrifying blues guitarists of his era, and his son Bernard Allison has proudly carried that legacy forward. Bernard began performing with his father while still a teenager and absorbed many of the lessons that made Luther such a beloved performer. Over the years, Bernard has developed into a formidable guitarist and bandleader in his own right. His music combines traditional blues foundations with rock, funk, and soul influences while maintaining the passion and intensity that made his father famous.

Doyle Bramhall II

The son of Texas songwriter and drummer Doyle Bramhall, Doyle Bramhall II has built one of the most impressive careers of any second-generation blues musician. Known for his distinctive left-handed playing style, Bramhall has collaborated with artists including Eric Clapton, Roger Waters, and Tedeschi Trucks Band. He is equally respected as a songwriter, guitarist, and producer. While his father’s influence helped shape his musical outlook, Bramhall has carved out a unique identity that stands on its own.

Ronnie Baker Brooks

Chicago blues guitarist Ronnie Baker Brooks followed in the footsteps of his father, Lonnie Brooks, one of the most beloved figures in modern blues. Ronnie spent years performing alongside his father and learning the craft firsthand. That experience helped him develop into a powerful guitarist and charismatic performer. While Lonnie’s influence can be heard throughout Ronnie’s work, he has successfully blended traditional Chicago blues with modern blues-rock energy. Ronnie was named “B.B. King Entertainer of the Year” at the 2026 Blues Music Awards.

Kenny Neal

Born into a Louisiana blues family, Kenny Neal is the son of harmonica player and singer Raful Neal. Music was a constant presence in the Neal household, and Kenny began performing at a young age. Over the years, he has become one of the leading voices in contemporary Louisiana blues. His soulful vocals, expressive guitar work, and deep connection to the genre have helped him carry his family’s musical tradition to audiences around the world.

Cedric Burnside

Few artists embody a family legacy quite like Cedric Burnside. The grandson of Hill Country blues legend R.L. Burnside, Cedric grew up immersed in one of the most distinctive blues traditions in America. His father, drummer Calvin Jackson, was also a musician, further reinforcing those musical roots. Cedric spent years touring and recording with his grandfather before launching his own successful career. Today, he stands as one of the leading figures preserving and advancing the Hill Country blues sound.

Cassie Taylor

The daughter of acclaimed blues artist Otis Taylor, Cassie Taylor has established herself as a talented singer, songwriter, and bassist. Growing up around her father’s music provided an early education in creativity and artistic expression. Rather than simply following a predetermined path, she developed her own style that incorporates blues, roots, soul, and Americana influences. Her work demonstrates how family influence can inspire originality rather than imitation.

The post 10 Blues and Blues Rock Artists Following in Their Father’s Footsteps appeared first on Blues Rock Review.

Pennsylvania-based independent label Willowtip Records was established by Jason Tipton in the late ’90s. From humble beginnings, the label has stood the test of time, becoming one of the most respected and highly regarded record labels in the extreme metal scene. It takes something special to create a label with a consistently unfuckwithable roster of quality, innovative artists while retaining long-term integrity and durability. Willowtip is the self-proclaimed forward-thinking label, releasing a slew of modern classics and top-shelf albums that may have a lower profile but are more than worth your while.

This feature focuses on a pivotal early period in the label’s history that had a huge impact on my own extreme metal tastes. As such, I am highlighting some outstanding albums released by Willowtip between 2001-2006. Some are lesser-known; however, I will argue are must-listen releases from the label’s early golden era. I will skip over a couple of particularly pivotal albums from the period more suited for Yer Metal Is Olde honors; otherwise, it’s open slather. Welcome to the Willowtip Files.

It’s been a hot minute since we last delved into the treasured archives of The Willowtip Files. As a new year dawns, I generally unwind from the frenetic Listurnalia shenanigans and holiday season festivities by not only catching up on good shit I missed but leaning back on metal classics and other beloved albums from the past. For this latest edition we travel back to 2004 to revisit the criminally underrated second album from long-defunct Pittsburgh death metal crew, Commit Suicide. Loading a scant yet potent career with a demo, split release with the mighty Misery Index, and two LPs, culminating in the subject of this piece, sophomore album, Synthetics. Commit Suicide never quite gained the traction of their higher-profile labelmates of the era. Nevertheless, Synthetics garnered well-deserved buzz, upping the ante in songwriting sophistication and technicality, evolving brightly from the rugged deathgrind uppercuts of their impressive 2002 debut, Human Larvae (Earthly Cleansing).

Maintaining the gritty underground crunch and brutal thumping of the debut, Synthetics found Commit Suicide refining their art through complex, ever-shifting arrangements and featuring signature techy dissonance and aggro, brutal attack, trademarking many of the Willowtip albums of the era. Elevating its knotty, technical death with injections of grind, sick dual vocals from frontman Scott Evans, and a decidedly progressive streak, Synthetics is the full package. Commit Suicide refused to adhere to traditional song structures or verse-chorus-verse formats. However, their attention to crafting intricate, bruising, yet subtly infectious riffs, and anchoring the blasting chaos with dense, pummeling grooves lends the experience an addictive, replayable edge. Punching slammy grooves through brutal deathgrind tornadoes (“Earthly Cleansing,” “Transient,” “Evolve”), injecting eerie, doomy atmospheres into visceral, playful tech death wormholes (the astonishing “Resonance”), and ripping bloody paths of punky deathgrind destruction (“Bastard Creature/Harmonic Skepticism”), Synthetics weaves a tapestry of calculated brutality and overflowing creativity. The album’s compact length creates a more palatable experience and ensures the visceral experience does not overwhelm.

The passage of time has served this obscure gem well. Synthetics sounds remarkably fresh and volatile twenty-plus years since it dropped. On trend with the label traits of the era, Commit Suicide possessed an undeniable charm, nuking any semblance of orthodox songwriting through an unpredictable blend of choppy time changes, jagged dissonance, and controlled grindy chaos. Grounded by warped riffage, slammy grooves, and tremendous percussive flair, Synthetics also reaped benefits from a well-balanced, organic production job, steering away from sterile, plasticky productions that marred various platters during this time period and still hinders death metal releases to this day. This shit sounds good, especially when paired with a decent set of cans for full immersion.

So, who do these dudes sound like? That is perhaps the beauty of the label’s golden era, simple comparisons were never easily defined. Old school Gorguts, Suffocation, early Misery Index, and Pestilence are perhaps influential touchpoints; however, Commit Suicide carved their own special death metal niche during their brief existence. An overlooked gem from an action-packed era for the Willowtip label, Synthetics has stood the test of time and deserves to be better known, remaining a rugged, technical, and wickedly groovy, innovative slab of gritty underground death metal. Currently a name your price option on Bandcamp, there is no excuse for death metal aficionados not to at least give this underrated jewel a spin.

The post The Willowtip Files: Commit Suicide – Synthetics appeared first on Angry Metal Guy.

The Traffic and Spencer Davis Group legend shares how he feels he might have helped the group revisit their past on the upcoming set. Continue reading…

Last night, as Connecticut rock band Goose played the second of two consecutive shows at Madison Square Garden, a 51-year-old man fell to his death. He reportedly fell from the upper 300 level to the 100 level, where concertgoers were evacuated from their seats. The man was transported to Bellevue Hospital, where he was later pronounced dead.

The post Goose Share Statement After Fan Falls To His Death appeared first on Stereogum.

These are the biggest rock and metal bands heading out on tour this summer and also the tours with the most stacked lineups. Continue reading…

When drummer Dave Masud isn’t slapping skins for the Vampirates, he’s busy making his own music. On May 1st, Dave released Three Quarter Life Crisis, his latest solo record. Dave has crafted a record that’s a visceral look at middle age as your body and the world breaks down around you. The songs are lyrically dark, but musically bright in more spots than you’d think. While the record mostly stays in punk rock mode, Masud sneaks in a bit of dub reggae with the cleverly named “DU(M)B,” but shines on songs like “Dead Friends Song” and “After the Storm.”

Check out the video below for After the Storm below:

If you like what you’ve heard, support Dave and his music. The record is available almost everywhere you can stream music, but you can buy it directly from Dave at his Bandcamp.

Code Orange is dead. Long live Nowhere2Run