Adding some Aussie hardcore brutality to POISON THE WELL‘s headline run this September, Melbourne’s IRON MIND will join Boston chaos merchants HAYWIRE supporting POISON THE WELL nationally as the Florida heavyweights mark their first Australian performances since 2009.
For almost two decades, IRON MIND have been seething torchbearers for Australian hardcore, releasing their 2009 EP The Sun Has Set before going on to unleash their debut 2011 album Hell Split Wide Open, their 2014 self-titled full-length album and, most recently, their third studio album, 2025’s Test Of The Iron Mind, with Knotfest.com declaring of the latter: “the band has been deliberate with each stomp, each massive swell and riff – this is Iron Mind, chaotic and hungry”.
With a global reputation for their live intensity, IRON MIND have previously shared stages with the likes of SPEED, No Warning, Backtrack, Harm’s Way and, as of earlier this year, Turnstile, with TheMusic.com.au praising IRON MIND‘s Melbourne support slot with Turnstile: “the Melbourne boys performed with the confidence of veterans, turning up the dial with punishing, rageful precision”. A band who continue to stand the test of time while also endlessly sharpening their trademark brand of measured chaos, IRON MIND are not to be missed in a live setting.
One of the most influential acts in modern metal and hardcore, in 2026 POISONTHEWELL will at long last again be at arm’s length for Aussie fans, heading down under for their Australian headline tour in June. Caustically fluent in flitting between brutality and beauty without breaking a sweat, POISONTHEWELL‘s 1999 debut album The Opposite Of December…A Season Of Separation not only introduced the world to a sonic cosmos of gripping yet melodic hardcore; it also influenced the future of heavy music itself, with the genre-defining record claiming spots on Brooklyn Vegan’s “15 ‘90s Metalcore Albums That Still Resonate Today,” KERRANG!’s “21 Best U.S. Metalcore Albums of All Time,” Loudwire’s “25 Best Metalcore Albums of All Time,” and Revolver’s “10 Most Influential Metalcore Albums of All Time”. Currently with five studio albums, countless tours, over 100 million streams, and reuniting after their 2009 hiatus, 2026 is already unfurling a razor-sharp new chapter for POISONTHEWELL, with the band now primed to release their first new album in 16 years: Peace In Place, due out March 20.
Announcing Peace In Place along with a propulsive new single Thoroughbreds, POISON THE WELL‘s new era is yet again shaping up to be something both monumental and connective; an album of and for our times, while also channeling the group’s storied journey and narrative into 10 stalwart tracks. Decades into the piece, POISON THE WELL aren’t merely resting on their laurels, instead channeling the spirit of their most celebrated material through a prism of new experience on Peace In Place.
Returning to the opposite side of the world after 16 years of separation, Australian fans can once again revel in the raw, raucous and resplendent stylings of POISONTHEWELLthis June.
Blues rock stands as one of the most powerful and enduring fusions in modern music. By combining the emotional depth of the blues with the force and attitude of rock and roll, the genre produced some of the most electrifying guitar playing ever recorded. From smoky British clubs in the 1960s to arenas across the world, blues rock albums have shaped generations of musicians and listeners.
The albums below represent defining moments in the evolution of blues rock. Some helped launch the genre to global audiences, while others pushed the boundaries of guitar tone, songwriting, and performance. Together, they form a foundation for anyone looking to understand the impact and legacy of blues rock.
John Mayall & The Bluesbreakers – Blues Breakers with Eric Clapton
Few albums carry the mythic reputation of Blues Breakers with Eric Clapton, often referred to simply as the “Beano Album.” When Eric Clapton joined John Mayall’s Bluesbreakers in 1965, he brought with him a fiery guitar approach inspired by Chicago blues legends like Freddie King and Otis Rush. The resulting album became one of the earliest cornerstones of British blues rock.
Clapton’s Les Paul through a Marshall amplifier produced a thick, singing tone that changed the sound of rock guitar almost overnight. Tracks such as “Hideaway” and “All Your Love” showcased his explosive phrasing while still remaining deeply rooted in traditional blues forms. His playing had a sense of urgency and precision that immediately separated him from many of his contemporaries.
The album also helped establish the guitar hero concept that would dominate rock music for decades. Fans famously scrawled “Clapton is God” on walls across London during this era, reflecting the seismic impact of his playing. More than half a century later, Blues Breakers with Eric Clapton remains a blueprint for blues based rock guitar.
Freddie King – Getting Ready…
By the early 1970s, Freddie King had already established himself as one of the most influential electric blues guitarists in the world. With Getting Ready…, he delivered one of the most powerful blues rock albums of the era, blending his Texas blues roots with the heavier sound that was emerging in rock music.
Produced by Leon Russell, the album features a stellar group of musicians and a sound that feels both gritty and polished. King’s searing guitar tone cuts through every track, delivering the kind of emotional intensity that helped shape generations of blues rock players. Songs like “Same Old Blues,” “Dust My Broom,” and “Key to the Highway” showcase King’s signature mix of explosive lead playing and soulful phrasing.
King’s influence on blues rock cannot be overstated. Guitarists ranging from Eric Clapton to Stevie Ray Vaughan studied his style closely, and Getting Ready… captures his playing at a particularly inspired moment in his career. The album still stands as a defining bridge between traditional electric blues and the emerging blues rock movement.
Cream – Disraeli Gears
Cream’s Disraeli Gears stands as one of the most innovative albums of the 1960s blues rock explosion. The trio of Eric Clapton, Jack Bruce, and Ginger Baker combined blues traditions with psychedelic experimentation, creating a sound that felt both rooted in tradition and boldly forward looking.
The album produced one of the genre’s most recognizable guitar riffs with “Sunshine of Your Love.” Clapton’s thick tone and melodic soloing helped cement his status as one of the most influential guitarists of the era. Meanwhile, Bruce’s songwriting brought strong melodies and adventurous structures to the band’s music.
Ginger Baker’s drumming also added an entirely new dimension to blues rock. His jazz influenced rhythms allowed Cream to stretch songs into extended improvisations that thrilled live audiences.
While Cream would only last a few years, Disraeli Gears demonstrated how blues rock could evolve into something bold and experimental without losing its soulful core.
Stevie Ray Vaughan and Double Trouble – Texas Flood
Few debut albums have made an impact as immediate as Stevie Ray Vaughan’s Texas Flood. Released in 1983, the record helped reignite mainstream interest in blues during an era dominated by synthesizers and pop rock.
Vaughan’s playing fused the intensity of Albert King with the swagger of Jimi Hendrix and the groove of Texas blues traditions. Tracks like “Pride and Joy,” “Love Struck Baby,” and the title track introduced audiences to a guitarist whose energy felt almost supernatural.
Beyond the fiery solos, Texas Flood also showcased Vaughan’s ability to reinterpret blues standards with fresh urgency. His version of “Mary Had a Little Lamb” remains one of the most exciting blues recordings of the era.
The album launched Vaughan into international stardom and sparked a blues revival that influenced countless guitarists.
Derek and the Dominos – Layla and Other Assorted Love Songs
Recorded during a turbulent period in Eric Clapton’s life, Layla and Other Assorted Love Songs captured a rare level of emotional intensity. Clapton’s collaboration with Duane Allman proved particularly magical, producing some of the most memorable dual guitar work in rock history.
Allman’s slide guitar blended seamlessly with Clapton’s blues driven phrasing. The result was a deeply expressive album filled with passion and vulnerability. Songs like “Bell Bottom Blues” and “Why Does Love Got to Be So Sad?” highlight the band’s ability to combine soulful blues influences with expansive rock arrangements.
The title track “Layla” became one of the most iconic songs in rock history. Its unforgettable riff and dramatic piano coda continue to resonate with listeners decades later.
Layla and Other Assorted Love Songs stands as a testament to the emotional power of blues rock.
Joe Bonamassa – Live at the Royal Albert Hall
When Joe Bonamassa stepped onto the stage at London’s Royal Albert Hall in 2009, it marked a career defining moment for the blues rock guitarist. The performance celebrated his rise from prodigy to one of the most respected modern figures in the genre.
Released as Live at the Royal Albert Hall, the recording captures Bonamassa at the height of his powers. Backed by a stellar band and joined by special guest Eric Clapton for “the encore “Further On Up The Road,” the show highlights both Bonamassa’s technical mastery and his deep reverence for blues history.
The album features powerful live renditions of songs like “Just Got Paid,” “Mountain Time,” and “Sloe Gin.” Bonamassa’s guitar tone roars through the legendary venue while his band delivers a tight, dynamic performance that balances power with precision. More than just a live album, Live at the Royal Albert Hall represents a symbolic passing of the torch for modern blues rock.
Gary Moore – Still Got the Blues
Gary Moore had already built a reputation as a formidable rock guitarist when he released Still Got the Blues in 1990. The album marked a return to Moore’s blues roots and quickly became one of the defining blues rock releases of the era.
Moore’s tone on the record is nothing short of breathtaking. His sustain and vibrato give each note a vocal quality that resonates deeply with listeners. The title track remains one of the most emotionally powerful blues rock songs ever recorded.
The album also features guest appearances from blues legends including Albert King and Albert Collins. Their presence added authenticity while highlighting Moore’s deep respect for the musicians who shaped the genre. With Still Got the Blues, Moore proved that blues rock could remain vital and relevant well into the modern era.
ZZ Top – Tres Hombres
ZZ Top’s Tres Hombres captured the gritty swagger of Texas blues rock better than almost any album before or since. Billy Gibbons’ razor sharp guitar tone, Dusty Hill’s thunderous bass, and Frank Beard’s driving rhythms created a sound that was both raw and irresistible.
The album features some of the band’s most beloved songs, including “La Grange,” a track inspired by the legendary Texas brothel known as the Chicken Ranch. Gibbons’ guitar riff on the song has become one of the most recognizable in blues rock history.
Beyond its hits, Tres Hombres is packed with gritty blues grooves and infectious energy. Tracks like “Jesus Just Left Chicago” showcase the band’s deep blues roots while maintaining their unmistakable Texas swagger.
The record helped elevate ZZ Top from regional favorites to international stars and remains a cornerstone of blues rock.
Kenny Wayne Shepherd – Trouble Is…
Kenny Wayne Shepherd’s Trouble Is… became one of the most commercially successful blues rock albums of the modern era. Released in 1997, the record helped bring blues rock to a new generation during a time when the genre rarely received mainstream radio exposure.
Shepherd’s fiery guitar work is front and center throughout the album, blending Texas blues influences with modern rock energy. Tracks like “Blue on Black,” “Slow Ride,” and “Everything Is Broken” showcased his ability to combine powerful riffs with memorable songwriting.
The album also benefited from the soulful voice of vocalist Noah Hunt, whose gritty delivery perfectly complemented Shepherd’s guitar driven sound. Their chemistry helped give the record a distinctive identity within the blues rock landscape.
With multi platinum success and a string of hit singles, Trouble Is… proved that blues rock could still reach massive audiences in the modern era.
Rory Gallagher – Irish Tour ’74
Few live albums capture the raw spirit of blues rock like Rory Gallagher’s Irish Tour ’74. Recorded during a series of concerts across Ireland, the album documents Gallagher performing with relentless passion at the height of his powers.
The performances feel immediate and unfiltered, with Gallagher’s battered Stratocaster delivering blistering tones throughout the record. Tracks like “Cradle Rock,” “Tattoo’d Lady,” and “A Million Miles Away” showcase both his explosive guitar work and his deep emotional connection to the music.
What makes the album especially powerful is the atmosphere. The crowds respond with overwhelming enthusiasm, creating a sense of electricity that runs through every performance.
Irish Tour ’74 stands as one of the greatest live blues rock recordings ever captured and a fitting testament to Gallagher’s legendary stage presence.
Sydney based Punk Rock outfit This Time Only have just released their new single and music video called ‘Mick From The Pub’, which premiered exclusively via The AU Review. The band have also announced they will be playing a launch show at Oxford Art Factory (Gallery Bar) on March 14 to celebrate the release alongside Tallulah.
“Mick From The Pub drew heavily from Matt’s time working in shitty pubs. It’s about those people everyone knows, the pub regular who’s always got something to say, always got a story, and always seems to be there. On the surface Mick’s funny, loud and full of opinions, but the song is really about what’s sitting underneath that. It’s less about taking the piss and more about looking at that kind of character with a bit of empathy.”
This Time Only are built on sweat, grit, and big hooks. Their songs spit with urgency but land with heart — raw guitars and anthemic choruses set against lyrics that swing between scathing social commentary and lived-in Australian storytelling. Think the unfiltered honesty of The Smith Street Band colliding with the drive of The Menzingers and the punch of The Offspring.
For fans of storytelling as loud as the guitars, This Time Only is the sound of growing up, falling apart, and putting it all back together. New single ‘Mick From The Pub’ is available on all major online stores and streaming services.
‘MICK FROM THE PUB’ SINGLE LAUNCH
March 14 – Oxford Art Factory (Gallery Bar), Sydney, NSW
Tickets available at www.moshtix.com.au | 18+ only
Called “the first Metal Crossover band” (page 167) by Stephen Blush in his authoritative history of the movement, American Hardcore (second edition, Port Townsend: Feral House, 2010), Columbia, MA’s Void burned oh so bright in the fledgling days of USHC. Taking their name from Sabbath’s Into the Void and being a true cultural melting pot of being half-black and half-Filipino, the band’s real problem is that they just couldn’t be pigeon-holed.
In Blush’s book, guitarist Bubba DuPree comments that he even now cannot understand how Void were accepted into the HC scene: “We were so blatantly not part of it” (page 168) he goes on to say. It’s even noted that the release of their album, Poison for Bad Dreams, in 1983 was scuppered when the record company decided they were “too Metal”.
Which leaves Void with only a handful of compilation appearances, a 7” demo and the split album with The Faith – themselves fronted by Alec MacKaye, younger brother of Minor Threat / Fugazi legend, Ian.
Split over two sides of a clear vinyl, Outer Battery Records are set to release these newly rediscovered – and milestone – shows from the band, both from 1982. Side One was recorded on 30 April at Washington DC’s Wilson Center, the scene of an earlier triumph for Void, and just before the release of the split record.
This first show featured four songs that would go on to appear on album, all of which are filled with hardcore fury: Ask Them Why and Ignorant People both feature prominent bass introductions, courtesy of Chris Stover, eventually giving way to Bubba’s frenzied riffing and singer, John Weiffenbach’s madcap vocal performance. Who Are You? is introduced as an “old one” and Think as a “public service announcement” and both are rage-filled blasters.
The accusation that Void at Too Metal can be seen to find traction in the slow building opener, Shade of Grey, with its fat guitars and loose, jamming style, eschewing speed for a darker atmosphere. Spiral Staircase is more than four-minutes in length, unheard of in the USHC scene of the time, and includes Bubba going full-on Guitar God. It’s easy to see why these two tracks didn’t feature on the split.
Side Two comes from DC’s 9:30 Club and was recorded on 5 December 1982. Again, it’s heavily loaded with tracks from the split, including the chugging frenzy of My Rules, and the around one-minute whiplashing Self Defence and Organized Sports; Time to Die opens the second side with some decidedly Metal trills and plenty of cymbal crashes from sticksman Sean Finnegan.
Just seven months later and there’s a noticeable improvement in the delivery, whether that be the venue, the equipment or the band themselves developing, it results in a high energy performance. Explode feels more like an interlude, as does Let’s Party, which demonstrates the proficiency of all musical elements in Void.
Slow Burn is introduced as “a new one” and alternates between flailing guitars and doomy, brooding stomps. Going fully in on the darkness is Blood Lust, with a laidback stoner atmosphere and at nearly four-minutes long, it shows that Sabbath didn’t only influence their choice of name.
Perhaps a footnote in the history of USHC; maybe overlooked in favour of their more illustrious compardres, and possibly Too Metal, but Void Live 1982 is a short peek at one of the scene’s more eclectic participants, who were just too far ahead of their time.
Celebrating its 30th anniversary in 2026, Mr. Big’s fourth studio album, Hey Man, finally makes its long-awaited debut on vinyl for Record Store Day UK and Japan 2026 (April 18th), followed by a new remaster on SACD Hybrid Multi-channel and Double MQA-CD on May 8th.
A landmark release for the band, the album famously dominated the Japan Oricon chart for 16 weeks and remains a fan favorite for its blend of technical prowess and soulful songwriting.
The album features some of the band’s most enduring tracks, including fan-favorites “Take Cover” and “Goin’ Where The Wind Blows.” It stands as a definitive tribute to the incredible musicianship of the band’s classic lineup — Eric Martin, Pat Torpey, Billy Sheehan, and Paul Gilbert — making this a must-have for fans and collectors.
The Double MQA-CD format features an expansive array of additional content. This includes the “I Love You Japan” demo, the first-time release of the final mixes for “Friend of The Working Girl” and “Livin’ Like A Dog,” and a selection of bonus tracks such as “Tears,” “Little Mistake,” “Swingin’ Jam,” and “Shoot The Moon.” Rounding out the bonus material are live versions of “Take Cover,” “Goin’ Where The Wind Blows,” and “I Love You Japan,” alongside exclusive drum-only and minus-drum mixes of “Take Cover.”
The SACD Hybrid Multi-channel format features a brand-new remaster in high-resolution audio and will be released with a new 5.1 mix, housed in a premium super jewel box with a protective outer slipcase.
The 180g One-Step Pressing Deep Cyan Vinyl LP format marks the first time the album is available on vinyl for Record Store Day UK and Japan, and it is limited to 3,000 copies worldwide.
Stay tuned for more updates as these landmark anniversary editions arrive. The LP will be available on April 18th, followed by the SACD Hybrid Multi-channel and Double MQA-CD on May 8th.
Note: The Hybrid SACD disc is compatible with all standard CD and SACD players.
A forever favorite, through and through, And Also the Trees have been a constant musical force throughout much of my later years, capturing my imagination with their enigmatic, elegant, and ever-evolving body of work. From their earliest demos in 1982 through their latest introspective albums, their discography remains in steady rotation for me and is never far from my heart at all times.
The band’s latest record, The Devil’s Door, was self-released last Friday and has been receiving rave reviews across the board. A triumph among triumphs, the record is a exemplary continuation of the band’s contemplative, yet powerful sound and showcases the immense talents of the band’s current lineup, consisting of brothers Simon Huw and Justin Jones. drummer Paul Hill, bassist Grant Gordon, and clarinetist and multi-instrumentalist Colin Ozanne. The album also features backing vocals and violin from Belgian musician, vocalist, and composer Catherine Graindorge, who worked with Simon Huw Jones on her most recent Songs From the Dead LP in 2024.
And Also the Trees are currently gearing up for their upcoming European tour dates, which kick off this weekend in Belgium and also include festival appearances with longtime champions and collaborators The Cure. As the band was hard at work preparing their set, I had the chance to catch up once more with vocalist Simon Huw Jones to discuss The Devil’s Door, the band’s connection to jazz and post-punk, and their upcoming tour dates. This time around, we are joined by guitarist Justin Jones, who was able to give us some insight on his masterful guitar work and the album’s evocative textures.
And Also the Trees remain one of the most consistent and engaging acts, and it seems you’re more active now than ever before. What is the secret to being so prolific?
Simon Huw Jones: We used to take around 4 or 5 years to write an album which is hardly prolific but we’ve been on roll, it’s true. The Covid period distorted time and when the world went quiet Justin, who is the creative source of the band, created a lot of guitar pieces which led to Mother-of-pearl Moon – this now feels to me like an album that came out of nowhere. Without a break, we went straight into the initial ideas for what became The Devil’s Door. It was almost as if we didn’t take a breath between any of them, they ran into each other very naturally. But that’s it for the moment, this chapter of our story is over now.
Tell us a bit about your recording process for The Devil’s Door, if you could. Are you still recording in different locations and piecing it all together afterward? If so, it’s wonderful to hear how coherent and cohesive the pieces are.
SHJ: Well, Paul and Grant recorded the drums and bass together in an old barn in Herefordshire where we’ve recorded before and Justin was there directing. We’re all reacting to the guitar pieces which Justin had written and recorded in London and I suppose at least some of the pieces they were playing to had a guide vocal. Colin played his parts at his place in London too. But it’s all very instinctive and follows no formula and this is what gives the songs that unpredictability and energy.
Your latest works strike me as very streamlined, lean, and intentional, from every note to the lyrics, to the track listing. Do you ever record more material than needed or is anything ever held back from the records? Do you ever revisit or rework older pieces along the way?
SHJ: There are usually a few pieces that don’t meet our expectations or more commonly don’t get finished. We occasionally revisit them and they become part of another album. On this project there were two songs that Justin and I worked and reworked to the point of insanity which didn’t make the album – they went through phases where we thought they were on the verge of becoming amazing hit singles and then dropped off inexplicably into pieces that we began to hate. The lyric for one song I had forming and dissolving in my head for almost the whole of my summer holiday in Greece. Christ!… I have to laugh thinking about it or I’d cry.
This album is the third in a trilogy with the band’s latest lineup – can you expand on that a bit? Are there thematic similarities between this record, The Bone Carver, and Mother-of-pearl Moon, or are the albums connected more on a sonic level?
SHJ: It’s more on a sonic level. It’s the same five musicians on all three albums and particularly the clarinet, for me at least, threads through all three albums and ties them together. Justin would probably have more to say about the musicality of them all though.
Justin Jones: Sometimes things happen in threes. In this case it’s mostly to do with perception, but if I can stand far enough back from this last record I can see that: Born Into the Waves was a transitional album and then The Bone Carver started this triptych, probably because the cast was now formed, these individuals were emerging as AATT in the 2020s. Strong and confident in where they were heading.
From here on, who knows? I suspect if there is more it will be a new chapter or a new transition.
I’m always enamored with your lyrics and how they often paint an evocative portrait or create such lush stories. I know we’ve touched on your process in the past, but I’d love to hear about the lyricsfor this album. What inspired you for this particular set?
SHJ: Almost all my vocals come as an instinctive reaction to the music, usually there is some lyrical content which I can develop but not always. The song we called ‘As I Dive’ had nothing lyrically usable but a decent vocal line. Justin and I were listening to the music with the garbled words running and he said to me – “it’s like a river… the music.” I agreed and decide I’d lyrically and literally dive into it.
Sometimes a working title will inspire me, like with “Return of the Reapers” which Justin took from a painting he’d recently seen. I didn’t see the painting but I had the title in mind and the scene in my head when I reacted to the music and it came very easily. Those moments are quite rare and of course I treasure them. As a lyricist you want all songs to sound like they came effortlessly, like magic, but of course they don’t.
“The Crosshair” on the other hand was more complex and challenging for me. When I first heard and reacted to the music a main protagonist came to life – but then Justin thought the piece would be more interesting if he took most of the guitar parts out of it leaving this rather wonderful bass line as the prominent instrument… and Colin then added some clarinet that changed the atmosphere of the piece again… leaving my main protagonist in the wrong song. So I needed to find another one. Then once I’d found one the scenario only worked convincingly if it was played backwards.
Is that too much information? – I don’t like giving too much away about my lyrics… don’t like pinning them down – they should be free to mutate… hopefully they still will anyway.
And Also the Trees have always excelled at crafting such alluring soundscapes and textures – each album is a world I can live in for some time and quickly feels like a warm, cozy sweater. Having now seen the band live (finally!) it’s incredible to hear these sounds come to life on stage as well as on the records. I’m curious to hear more about how you get some of these otherworldly sounds out of an electric guitar…
JJ: That’s very kind of you.
I don’t think I hear things like other people do. I suppose we all hear things differently. But sometimes I feel I have a kind of hearing colour blindness. I watch videos of people reviewing amps and I can’t hear the difference they speak of when they turn a knob. It sounds the same to me.
But I have a fascination for the unknown. Sounds that aren’t really there. When you combine an instrument and a room something happens. You hear it more evidently in churches with voices. The sound waves ripple around the arches and sonically some magic happens. I suppose I am talking of harmonic distortions. If you are lucky a kind of alchemy happens and more voices appear that aren’t there.
That is where I like to be.
It’s rare but when it happens it’s god-like.
I’ve also loved how this incarnation of the band explores instrumentation that you don’t hear often in post-punk music. In addition to clarinet, which has been a regular feature for a bit now, I’m also loving the accordion in “The Trickster” – how do you land on the instrumentation for each record?
JJ: Well that’s not me that’s Colin. I take him ideas and he hears them and is interested in where the idea is going. Then he will imagine the path and off he goes, sometimes in mad Colin-ways. He has lots of instruments that he seems to play well. Sometimes it will be a Portuguese guitar or a piano or clarinet, or bass clarinet or accordion or Ondioline or something I’ve never seen or heard of. It’s a lovely creative chaos and fascinating understanding of AATT.
Speaking of “post-punk,” do you feel aligned with the genre these days, or do you feel the band has moved past such simple categorization? I’ve always found genres to be a mild annoyance, at best, and of course, that genre itself can mean any number of things, especially these days…
SHJ: As teenagers we bought and made our equipment and instruments with the intention of forming a punk rock band but by the time we’d learnt even the basics of playing, or shouting in time in my case, punk had ‘died’ as a movement. The ‘oi punk’ scene didn’t interest us, we had a different kind of energy. We didn’t want to try and become a classic rock band either. In fact we didn’t want to belong to any genre, we wanted to sound like no one else. There were bands that we could relate to emerging like The Cure, Joy Division, The Bunnymen etc. We loved those bands but we didn’t want to sound like them.
We listened back to early Pink Floyd, discovered The Doors, Can, Scott Walker – we discovered we liked some jazz and hated some more of it, we listened to some classical music, film sound tracks… John Barry, Bernard Hermann and we tried to play together. To make songs. What came out was very rough and slow and a bit awkward but eventually it started coming together. We were a band that formed precisely after punk rock – so when the category ‘post-punk’ started being used it was good for us because it was exactly what we were… even if we realised we didn’t have that classic ’80s post-punk’ sound, and apart, maybe, from our first album, I don’t think we ever did. But we have to have a category, like we need references to other bands and artists – we’re happy to mention The Cure these days because we sound nothing like each other but a lot of people who like us also like them. When strangers ask me what kind of music we play I say we are more like The Cure than ACDC or Abba.
We’ve talked a bit about your love of classical in the past and how that’s manifested in the work, but I’m hearing quite a bit of darker jazz influences on this particular record as well. Was this intentional? Have you always been into jazz, personally?
SHJ: This is also more of a question for Justin… but from my side I started to appreciate some jazz when I was lucky enough to inherit my brother-in-law’s record collection when he immigrated to the US back in 1981. He had quite a few Miles Davis records, some Pharaoh Sanders, Alice Coltrane – and I haven’t found anything I like better.
JJ: Jazz is an art form I have a lot of respect for. However intellectually it’s a language I can’t grasp, I don’t pretend to – it’s beyond me. My only experiences ‘close to’ jazz are on the peripheries. Marc Ribot is someone I could listen to all day. Other than that I would point to elements of jazz in film music. Colin is quite experienced in that world and has a grounding that seems to be based in jazz, he’s clever like that. Paul comes at it from a different direction, I think his early influence were jazz drummers.
Something exciting happened when I ‘opened out’ a piece on the new album called “The Crosshair.” I took out all the dense guitar that the idea was based around and left a skeleton of a guitar part and Paul and Colin created this mood that is like a Lalo Schifrin soundtrack that hover above Grant’s ominous bass part.
On a related note, it’s great to hear a few instrumental segues on The Devil’s Door, especially the penultimate track, which really is quite playful! I love that you included this just before the devastating “Shared Fate” which really swells and swings in the best way possible. I’d love to hear more about how these tracks came together, especially…
JJ: This started life as quite an open, incidental piece of music but as it gathered form it began to seem as though it was trying to tell me something. Requiem is too grandiose a word for it but it felt like this was a slow march toward the light. Then Colin added his piano and clarinets and yes, it was just that. When he played back what he had done I wanted to hug him, but I’m English and we don’t do that very well.
“Shared Fate” was always going to be at the end with that title and so these pieces found themselves a home.
It’s wonderful to hear Catherine Graindorge guesting on the album. Will she be joining you on tour?
SHJ: She will be our special guest on tour yes, playing her solo act… I might join her for a piece and then she might join us for a song too – we haven’t really discussed it yet. She is a fantastic musician and I really liked working with her a lot… I find the violin an extraordinarily emotional instrument and even in rehearsals I’d get totally blown away by what she was doing. It’d be quite cool to see what would happen if she and Justin worked together on some more pieces.
It’s also great to see that you’re playing with The Cure again this year, three festival dates in southern France no less! Have you played outdoor venues in recent years?
SHJ: I don’t think we have played outdoor for some time. But we’re very happy to be playing there… and the fact that our two bands are still together 45 years after we first played together, and after having such different paths through music and life is extraordinary and pretty wonderful I reckon.
Last, but not least, I always love that you often play non-traditional venues as well as beautiful theaters. Are you playing any exciting and/or off-kilter venues this time around?
SHJ: Well the tour is still being planned – so far we just have France and a show in this amazing church in Namur in Belgium. We played there before and it was a surprise… huge and very grand and dramatic. Then we’re playing in a pub in Angers in France a few days later. Then in July the ancient Roman arena in Nimes – so, typical AATT.
I think it’s great we can play in such a variety of venues and not feel out of place in any of them. Knowing me, my favourite will be the pub… §
And Also the Trees 2026 Tour Dates
March 7th — La Nef De L’Eglise Notre Dame D’Harscamp — Namur, BE
March 18th — Le Grand Mix — Tourcoing, FR
March 19th — Joker’s Pub — Angers, FR
March 20th — Hydrophone — Lorient, FR
March 21st — Espace Culturel Buisson — Cherbourg, FR
March 22nd — La Gaité Lyrique — Paris, FR
April 4th — Death Disco Indoor Festival 2026 — Athens, GR
Legendary guitar icons Joe Satriani and Steve Vai return with the SatchVai Band release of their brand-new single, “Dancing,” out now via earMUSIC, alongside a wildly entertaining new video directed by Satriani’s son, ZZ Satriani. The single was released Monday 2nd March 2026.
The single is available on all streaming platforms HERE.
Musically, “Dancing” – a reimagined interpretation of a song by iconic Italian singer, pianist, and songwriter Paolo Conte – showcases the SATCHVAI Band at full throttle. A vibrant, melodic conversation between two of rock’s most expressive guitar voices. Built on momentum, melody, and fearless musical chemistry, the track captures the spirit of spontaneity and joy that defined their electrifying European tour.
The video stars actor, comedian and musician Brendon Small (Metalacolpyse. Dethklok), a longtime friend of both guitarists, who hilariously portrays an overzealous talent manager pushing the duo to cast dancers for the band’s upcoming live show.
The chaos unfolds in sync with the track’s fast-moving melodic interplay between Satriani and Vai — a rapid-fire exchange of soaring guitar lines that mirrors the eccentric parade of auditioning performers. Eagle-eyed fans will also spot a cameo from the band’s powerhouse drummer Kenny Aronoff, adding to the tongue-in-cheek energy.
Satriani shares, “‘Dancing’ really captures the playful side of what Steve, and I discovered on stage together last summer — that push-and-pull of melody and energy. The video gave us a chance to show that spirit in a completely different way. Watching ZZ bring this absurd casting concept to life — and having Brendon step into the madness — made it even more fun.”
Vai adds, “This band thrives on surprise — musically and visually. ‘Dancing’ is a perfect example of that. It’s melodic but relentless, and the video turns that energy into a kind of surreal comedy. It’s a glimpse into the personality of this band before we even hit the stage.”
The release arrives as the SatchVai Band prepares to bring their “Surfing With The Hydra” 2026 U.S. Tour stateside for the first time. Launching April 1st in Seattle and running through May 30th at Wolf Trap, the tour follows a celebrated European run that included stops in London, Paris, Copenhagen, and festival appearances at Hellfest, Umbria Jazz Festival, and Guitares en Scène. Support on all dates will come from progressive metal innovators Animals as Leaders.
On the Surfing With The Hydra Tour, fans can expect a full-band, high-energy performance featuring more new material from the forthcoming SATCHVAI Band album alongside iconic favourites from both artists’ catalogues.
“Dancing” follows the duo’s previous releases, including the cinematic instrumental “The Sea of Emotion, Pt. 1” and the anthemic “I Wanna Play My Guitar,” featuring powerhouse vocals from Glenn Hughes (Deep Purple, Black Country Communion).
Together, these tracks preview a collaboration that is decades in the making. Despite nearly 50 years of friendship, the SATCHVAI Band marks the first time Satriani and Vai have formally united in a shared group — alongside drummer Kenny Aronoff, bassist Marco Mendoza, and guitarist Pete Thorn — forging a live experience built on virtuosity, friendship and fearless creativity.
April 1 – Seattle, WA – Paramount Theatre
April 2 – Portland, OR – Arlene Schnitzer Concert Hall
April 4 – Oakland, CA – Fox Theater
April 5 – Reno, NV – Grand Sierra Resort and Casino
April 7 – Long Beach, CA – Long Beach Terrace Theater
April 8 – San Diego, CA – Cal Coast Credit Union Open Air Theatre
April 10 – Mesa, AZ – Mesa Amphitheatre
April 11 – Las Vegas, NV – The Theater at Virgin Hotels Las Vegas
April 14 – Denver, CO – Mission Ballroom
April 16 – Houston, TX – 713 Music Hall
April 17 – Dallas, TX – Music Hall at Fair Park
April 18 – Austin, TX – ACL Live at the Moody Theater
April 20 – Mobile, AL – Saenger Theatre
April 22 – Pompano Beach, FL – Pompano Beach Amphitheater
April 24 – Clearwater, FL – Baycare Sound
April 25 – St. Augustine, FL – St. Augustine Amphitheatre
April 26 – Orlando, FL – Hard Rock Live
April 27 – Atlanta, GA – Atlanta Symphony Hall
April 29 – Charlotte, NC – Ovens Auditorium
April 30 – Durham, NC – DPAC
May 2 – Minneapolis, MN – State Theatre
May 3 – Chicago, IL – Chicago Theatre
May 5 – Milwaukee, WI – The Riverside Theater
May 7 – Nashville, TN – Ryman Auditorium
May 8 – Cincinnati, OH – PNC Pavillion at Riverbend Music Center
May 9 – Indianapolis, IN – Everwise Amphitheater at White River State Park
May 10 – St. Louis, MO – The Factory
May 12 – Buffalo, NY – Kleinhans Music Hall
May 13 – Toronto, Ont – Meridian Hall
May 15 – Northfield, OH – MGM Northfield Park
May 16 – Rochester Hills, MI – Meadow Brook Amphitheatre
May 17 – Syracuse, NY – Landmark Theatre
May 20 – Boston, MA – Leader Bank Pavilion
May 21 – Albany, NY – Palace Theatre
May 22 – Waterbury, CT – Palace Theater
May 23 – Virginia Beach, VA – The Dome
May 27 – Reading, PA – Santander Performing Arts Center
May 28 – New York, NY – Beacon Theatre
May 29 – Atlantic City, NJ – Borgata Hotel Casino & Spa
May 30 – Vienna, VA – Wolf Trap
Sydney’s Dark Rock/Metalcore Outfit Wicked Envy are back and heavier than ever with the release of their blistering new single and music video called ‘Hyde’.
“Splitting yourself in two, so you feel whole again”
Enticing you with dark, theatrical antics, soaring riffs, with enduring vocals and captivating melodies that you can’t help but obsess over. Wicked Envy draw influence from the likes of In This Moment, The Pretty Reckless and Bullet For My Valentine.
The band dropped their debut EP What The Hell Am I Doing in 2021 with some outstanding media coverage and streams for their debut single It’s Been a Longtime reaching 50k on Spotify in less than 2 months. Their latest singles Final Descent and Paralysis Demon, have landed them on some amazing features from Music Feeds, Scenestr, Metal Roos and Heavy Magazine to name a few.
Wicked Envy have secured airplay on commercial radio including Short.Fast.Loud on Triple J, Double J,Eleven and Total Rock Louder in Germany. Since their debut, Wicked Envy have played alongside the likes of Future Static, The Last Martyr, Mannequin Death Squad, Avalanche, FANGZ, Sienna Skies and more.
New single ‘Hyde’ is available on all major online stores and streaming services.
