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This is one I’ve been waiting a long time for – and the wait is over in about seven weeks from date of posting. The rolling series of Jethro Tull big box book set thingies continues with the much underrated 1984 album of Under Wraps. The release date is scheduled for 15 May 2026. This […]

The post Jethro Tull Under Wraps the Unwrapped Edition in May 2026 first appeared on New Wave of British Heavy Metal.

The prog-rock legends are rescheduling the dates for May 2027. Continue reading…

The upcoming YES ‘Fragile’ UK and EU Tour, due to commence on 22nd April, has had to be postponed as guitarist Steve Howe requires an essential operation that requires recovery time.

This decision has been made to ensure that Steve can return to the stage in full health and deliver the performances that fans deserve.

We are working hard to reschedule the UK and EU shows to a later date, with full details to be announced after Easter. Please retain your tickets as they will be valid for the rescheduled dates.

Tour dates currently being arranged for later in 2026 will proceed as planned.

Steve Howe and YES would like to thank their UK fans and hope for their continued support at this time.

The post YES postone upcoming ‘Fragile’ UK and EU Tour appeared first on The Prog Report.

Posted on April 2nd 2026, 3:00p.m.

Nevermore officially launched a fresh chapter on April 1, marking their return with a capacity crowd at the IF Performance Hall Beşiktaş in Istanbul. Founding […]

The post NEVERMORE’s New Line-Up Make Its Live Debut In Istanbul, Turkey appeared first on Metal-Rules.com.

What’s left behind when the reverb ends
What were we If no sound remains 

When the Reverb Ends is a song title that immediately suggests aftermath: the instant when atmosphere clears, when sensation settles, and whatever was buried beneath volume and echo is left exposed. Black Reverie, a project conceived by Sebastian Lugli of Rev Rev Rev and joined by players from Desert Ships, The Stargazer Lilies, and We Melt Chocolate, introduces itself with a debut that treats texture as more than mere adornment. Beneath the gossamer wash of guitar and reverb, there is a careful emotional architecture at work, one that gives the song its shape and quiet force.

The track draws from familiar psych and shoegaze lineages, yet it carries itself with elegance. You can hear echoes of My Bloody Valentine, The Jesus and Mary Chain, The Warlocks, and Sixties psych (think Nuggets), but those references are folded into something more personal: a piece that values atmosphere while still trusting melody, tension, and restraint. Lugli’s glide guitars and tremolo lend the arrangement a sense of motion that feels at once fluid and disorienting, while the bass provides a grounded, almost vintage momentum. Above it, effervescent female vocals bring a soft luminosity. The music feels expansive, but it never loses its center. Black Reverie uses reverb, fuzz, and melodic haze to sharpen the emotional impression at the song’s core.

The collaborative dimension is crucial here; the song benefits from that interplay, from the sense that each contribution enlarges its emotional field without disturbing its internal balance.

“Watching Thrashers by Michael Wild, I felt a sensation that words can’t quite explain, but that I tried to give shape to through this music and these lyrics,” says Lugli. That impulse feels guided by an attempt to translate an elusive impression into form, and much of its appeal lies in how gracefully it sustains that effort. “I laid the foundations with a very Sixties bassline and a similarly vintage harmony, then added my guitar sounds on top,” he continues. “The magic thing is that what made this feeling complete were the contributions of Kim and John (The Stargazer Lilies): when I heard their parts, I got goosebumps. They’ve actually given voice to my dreams – that’s the magic of collaborating with artists like them.”

And the dreams in these lyrics poignantly circle memory, distance, and dissolution, asking what remains once echo, noise, and the emotional force of the past have faded. In fact, “When the Reverb Ends” treats reverb not just as a musical effect but as a metaphor for longing itself: the residue of love, youth, or shared experience still hanging in the air after the moment has passed. The repeated plea to “take me back” gives the song its aching core, while images of warp, decay, delay, and far-off stars suggest a search for origin through distortion, as if the speaker is trying to trace feeling back to its source before time and distance swallowed it whole.

Be Hussey’s mix serves the material beautifully, giving the song depth and breadth, but also clarity, preserving its density without letting it collapse into blur. By the close, Black Reverie have answered their own central question in subtle fashion: when the reverb ends, what remains is not emptiness, but contour—feeling held in suspension, then gently brought into focus. For a debut single, When the Reverb Ends makes a striking first impression, introducing Black Reverie as a project with both vision and finesse.

Listen to When The Reverb Ends below, and order the single here:

Follow Black Reverie:

• Instagram
• Facebook
• Bandcamp

The post “Light Years Away” — Italian Shoegaze Project Black Reverie Debuts With “When the Reverb Ends,” Featuring The Stargazer Lilies appeared first on Post-Punk.com.

(Today we present Comrade Aleks’ interview of the two members of the atmospheric black metal band Enterré Vivant, with a focus on their very interesting latest album released by the Antiq label.) Akuzaï, the third album of Enterré Vivant, a duo of Erroaik and Sakrifiss, was released almost one year ago, and it’s still the […]

The post AN NCS INTERVIEW: ENTERRÉ VIVANT appeared first on NO CLEAN SINGING.

Why Do Music Videos Use Parkour And Physical Performance So Much Now?

Because movement creates instant impact—and in a scroll-first world, that’s everything.

TL;DR

• Movement-heavy visuals grab attention faster than anything else
• They give songs a physical presence, not just sound
• Parkour-style performance adds tension, risk, and realism
• Metal could push this even further with darker, heavier execution

The Shift From “Looking Cool” To Feeling Real

Music videos used to rely on aesthetics—lighting, storylines, big-budget visuals.

Now? That’s not enough.

If something doesn’t hit instantly, people scroll past it.

That’s where physical movement changed the game.

When you see someone launch over a gap, slam into a landing, or move through space with purpose, it creates tension immediately. No setup required.

It feels real. It feels dangerous. It feels earned.

And that’s exactly why it works.

Why Parkour Became A Go-To Visual Weapon

Parkour isn’t just visually impressive—it’s readable.

Every movement tells a story:
approach, commit, execute, survive the landing.

That structure makes it perfect for video.

It naturally creates:

• pacing
• buildup
• release

And unlike CGI-heavy visuals, it doesn’t feel fake.

It’s controlled chaos—tight, precise, and unpredictable at the same time.

Why precision is part of the beauty

That uniqueness becomes even clearer when professionals are involved. For parkour athletes and personalities like Pawson Twins, the real test is not only doing a move once. It is repeating it with the same flow, the same timing, and the same calm while lights, cameras, wardrobe, and music cues all have to line up.

That’s what male their art so beautiful. In a music clip, the work becomes more exact.

The route has to look free but still match the beat and the camera angle. That is where parkour challenges become part of the appeal. The pressure of precision gives the image its charge.

The Part Most Viewers Miss: Precision Under Pressure

What looks raw is actually dialed in to an insane degree.

Everything has to sync.

That’s what gives these visuals their edge.

You’re not just watching motion—you’re watching something that could go wrong, executed perfectly.

That tension translates directly into how the music feels.

Watch It In Action

You can watch this video podcast where the Pawson Twins (whose shows you maybe already listen to) tell about the difficult side of their profession, and show some visuals that seem to be ready materials for a pop or rock (although the likes of heavy metal would definitely use stronger visuals and darker scenes instead, as you already know) music clip below.

Why This Hits Even Harder In Today’s Music Landscape

Most music isn’t discovered through albums anymore.

It’s:

• autoplay clips
• short-form video
• muted scrolling

That means visuals have to carry weight instantly.

Movement does that better than anything else.

A sprint, a drop, a perfectly timed impact—it gives the song a visible rhythm.

Even without sound, you feel something.

That’s the difference.

Where This Already Works (And Where It Could Go Next)

Artists like Madonna tapped into this years ago with “Jump,” using parkour to turn the entire environment into part of the performance.

OK Go did the same thing differently—precision movement, perfect timing, total control.

Those videos stuck because they felt earned.

Now imagine that approach pushed into heavier territory.

Metal could take this way further:

• darker environments
• more aggressive movement
• higher-risk visuals
• tighter sync with breakdowns and tempo shifts

Instead of just showing intensity, you build it physically on screen.

That’s where this gets interesting.

The Bigger Opportunity For Heavy Music

Heavy music has always been about energy, impact, and release.

Movement-driven visuals match that perfectly.

But most bands are still playing it safe visually.

There’s a gap here.

The bands that figure this out—who start pairing physical performance with heavy sound in a deliberate way—are going to stand out fast.

Because they won’t just sound heavy.

They’ll look heavy in a way you can’t ignore.

And in 2026, that’s the difference between getting skipped… and getting remembered.

The post Why High-Intensity Movement Took Over Music Videos (And Why Metal Should Lean In Harder) appeared first on Loaded Radio.

I grew up in the California Bay Area and have lived in Potrero Hill in San Francisco since 2012. I moved here because I loved the neighborhood and wanted to be close to two of my favorite venues, Bottom of the Hill and Thee Parkside.

Potrero Hill has always had a unique mix of industry, creativity, and community. Industrial buildings sit next to artist studios and music venues. Local musicians, photographers, designers, artists, and skaters share the same streets as longtime residents. The neighborhood’s creative spirit is shaped by places like Bottom of the Hill, Thee Parkside, DLXSF, Arch Art Supplies, and California College of the Arts.

That culture is now facing major change.

The California College of the Arts campus has been purchased by Vanderbilt University, and CCA programs will end by fall 2027. The neighborhood will lose a major design institution, and the future of the student gallery on 17th Street is unknown.

After 35 years, Bottom of the Hill has announced that its owners will retire and close under current ownership at the end of 2026. Fans are hopeful the venue’s legacy will continue under new ownership after the final show.

Thee Parkside recently had its building sold out from under them and will end live shows at the end of March. How long it will remain open as a bar is uncertain.

Rents continue to rise and only more unaffordable housing continues to be built. Build up and build more at the cost of the neighborhood culture and yet who are these units designed for?

This is the beginning of a series documenting 17th Street and Potrero Hill as these changes unfold. It will focus on the spaces and people who have made this community special.

I know you didn’t think we were done talking about the Courtney Love/Billy Corgan podcast. We might never be done talking about the Courtney Love/Billy Corgan podcast. Yesterday, Corgan had a fascinating conversation with Love on his show The Magnificent Others, and we posted about their interview — specifically about the two rockers’ tense relationships with ’90s indie hipster types, Kim Gordon in particular. But that wasn’t the only tense relationship that Love mentioned on the podcast. Dave Grohl came up, too.

The post Courtney Love Wants Dave Grohl To Tell Straight, White, Millennial Males To Stop Picking On Her appeared first on Stereogum.