Vreid & Djerv have joined forces for a stellar new track and invited Jackass star Chris Pontius to be the star of its madcap music video.
The song itself is called ‘Loving The Dead’, and is a collaboration a long time in the making. A hard-rocking, atmospherically bold, expansively grand piece of modern heavy music, littered with soaring melodies and danceable hooks, it’s a curious combination of styles and personalities. Building from glistening discoball hooks to scorching banshee howls, all perfectly delivered by vocalist Agnete Kjølsrud, it’s a forward-thinking bop for the ages.
And then there is the video. Taking Chris Pontius from the bar to the church, allowing him the space he needs to dance – a dance that has been seen by everyone who has ever had a passing interest in Jackass – his personality shines through brilliantly.
Vreid’s Jarle Kvåle had this to say about the creation, stating, “We wanted to create something cinematic and unexpected. Not just a performance video, but a visual journey.”
And Pontius had this to add about his display, simply saying, ““t didn’t feel strange at all. It felt natural.”
In Jackass news, it’s been confirmed that a new movie is coming out this Summer. Jackass 5 will be released on June 26, where Pontius will surely be showing off his dance moves even more.
Because putting out a million albums with Guided By Voices isn’t enough, the band’s guitarist Doug Gillard is announcing a new solo record. Parallel Stride arrives in April, and we’re getting a taste with the lead single “Face Of Smiles.” About the song, Gillard says, “Disparate imagery converges to tell the story of someone experiencing…
Award-winning British blues & roots artist Sunjay has announced the release of his tenth studio album, ‘Split The Sheets‘, alongside the release of its powerful first single, ‘Take Out Some Insurance‘, a bold reimagining of the classic track by Jimmy Reed. ‘Take Out Some Insurance‘ is OUT NOW on all digital platforms – here ‘Split […]
In 2021, powerhouse vocalist Yebba released her debut album Dawn, and then she quietly waded back into the ether. She reminded us of her talent with features for Drake (on 2021’s Certified Lover Boy) and Tyler, the Creator (for last year’s Don’t Tap The Glass), but it’s been a while since she’s released any of…
Facebook [Release date 28.02.26] Kent based Spreading the Disease are back and heavy as ever! The band’s current line-up consists of Steve Saunders (bass), Thorsten Giertsch (guitar), Donal McGee (drums), Daniel Stevenson (guitar) and Jonny P (vocals). Spreading the Disease … Continue reading →
Welcome to this weeks edition of Devil’s Island! Every week we maroon a band or artist on the island and see what they get up to, how they cope with being all alone on a small island in the middle of the ocean. It’s not your average desert island and we’ll see just how each person copes with the extreme conditions.
This week when we arrived at Devil’s Island we findPrimalucesat on the beach. The island is far from their home, so how did they end up here and how did they cope with life on Devil’s Island?
Find out now…
Welcome to The Razors’e Edge and our somewhat lovely, warm desert island. Don’t worry about it’s name I’m sure it’s not as bad as that would suggest.
You’re marooned here on this island, but before you ended up shipwrecked you chose one album that you couldn’t live without. Which album did you each chose and why?
I’d take Lunar Strain by In Flames. That album has always felt like a deserted island in space. Cold, silent, and distant from everything familiar. Lunar Strain doesn’t feel human in the conventional sense. It sounds like music written at the edge of something vast and indifferent, where nature, cosmos, and instinct merge into a single presence. There is solitude in it, but not loneliness. It is the kind of solitude that strips everything away and leaves only awareness. On a desert island, survival is not about comfort. It is about understanding where you stand. This album carries the same feeling. You realise how small you are, how little you matter, and yet you are still here, still listening, still searching.
That is why Lunar Strain is the album I would choose. It is not an escape. It is an environment.
Just behind that palm tree is a shack for each of you to stay in, with enough space for you to put up a poster on the wall of one album cover. What album cover do you each chose?
The artwork of Lunar Strain by In Flames.
It feels more like a vision than an illustration. A sea on the moon, something that should not exist, with mystical, elemental forms emerging from the water.
Not creatures. Not gods. Presence..
The image gives the impression of standing on a shoreline that was never meant for humans.
There is water, but it is alien. There is movement, but no life as we understand it. It is beautiful, unsettling, and sacred at the same time.
On a desert island, the sea is both a boundary and an opening. In this artwork, that same sea is displaced onto the moon, turning isolation into something cosmic and metaphysical.
It suggests not only being alone in the world, but alone in existence.
That is why this is the cover I would hang in the shack. Not as decoration, but as a reminder that meaning begins where familiarity ends.
There’s also a bar on this here island. But alas each of you only get to choose one drink for the entirety of your stay. What’s your tipple of choice?
Water.
Not out of asceticism, but out of respect.
On the island you quickly realise that anything which alters you is just a temporary escape. Water is the only thing that doesn’t lie, doesn’t promise, doesn’t betray.
It’s the drink of clarity. Without clarity, there is no way forward.
Your suitcases were lost when your ship sank, but you each managed to salvage one item of band merch. What’s the merch and for what band?
A Legion T-shirt by Deicide.
Probably the least appropriate item to wear on a peaceful, sunny island. Blazing sun, palm trees, turquoise water… and a shirt that looks like it was designed to summon the apocalypse.
But that’s exactly why it works.
It’s a reminder that darkness doesn’t disappear just because the setting is beautiful. And proof that no matter where you end up, some parts of your musical DNA never get washed away.
Besides, every island needs contrast.
You’re sat on the island thinking “I’m stuck here on this island with my bandmates for eternity”… who would you rather have been shipwrecked with?
Someone like David Gilmour.
Not for conversation, but for silence. Someone who understands that restraint can be more powerful than excess.
On an island, you don’t need noise. You need presence.
There’s a walkman in your pocket, on the tape inside is the recording of the one live show that stands out for you. It could be any show, from any band, anywhere in the world. What show is on that walkman?
Live in Europe by Transatlantic.
It captures a band at the peak of collective awareness. Long compositions, patience, risk, and trust between musicians who listen as much as they play.
On an island, time expands and loses its usual shape. This recording feels the same way. The music breathes, stretches, and refuses to hurry.
It reminds you that intensity does not come from speed or volume, but from commitment and shared direction.
That show would stay on repeat in the Walkman. Not as background noise, but as proof that even in isolation, creation can remain vast and human.
You’re getting desperate, you decide the only course of action is to put a message in a bottle and hope someone finds it. Your message could be to any member of any band, but should be the most suitable for a rescue attempt. Who is it?
I’d send the message to Steven Wilson.
Not because he would necessarily come to rescue me right away, but because he would understand the message itself.
A message in a bottle is not a cry for help. It is a reflection set adrift, sent without certainty of being received.
That feels deeply connected to his way of working, where isolation, distance, and introspection are not problems to solve, but conditions to explore.
If someone were to find that bottle and recognise its meaning rather than its urgency, it would be him.
And sometimes, being understood is already a form of rescue
You’ve been stuck here a while and food supplies are running low. There’s only one thing for it… which fellow band member gets sacrificed to help the others survive?
The ego.
Always.
It’s the most demanding band member, the one that consumes the most resources and produces the least music. Once it’s gone, everyone suddenly survives much better.
Finally, when the ship sank you each managed to save one person from the wreckage. That person is the one musician that has influenced your career the most, shaped your way of thinking and your outlook on life. Who did you save?
Ludwig van Beethoven.
Not because he represents perfection, but because he shattered it.
He taught us that limits don’t end creation, they redefine it. That struggle can become form, and suffering can become structure.
Beethoven didn’t write music to please his time. He wrote to survive himself.
Saving him would mean saving the idea that art doesn’t exist to be beautiful, but to be necessary
Tedeschi Trucks Band has released a new single, “Who Am I,” from its upcoming studio album, Future Soul, due out March 20 via Fantasy Records.
The song was written by Susan Tedeschi and Derek Trucks alongside band members Mike Mattison and Gabe Dixon. It follows the group’s earlier hit “Midnight in Harlem” while showcasing a new direction for the band.
“‘Who Am I’ feels a little bit like a dream to me,” Trucks said. “The riff came naturally to me one of the mornings that we were all writing together up at our farm in Georgia. Susan immediately came up with the opening vocal melody and lyric and Gabe really took it to a beautiful place from there. It feels biographical and a bit surreal at the same time. I always love when a song can put you in between worlds.”
Future Soul marks the band’s sixth studio album and features 11 tracks. The project includes the previously released single “I Got You.”
The album was produced by Mike Elizondo and co-produced by Trucks. The record reflects a full-band collaborative approach and draws from a wide range of influences, including funk, rock and roll, blues, soul, and punk. Pre-orders and pre-saves are currently available, with signed vinyl offered through the band’s official store.
In support of the album, Tedeschi Trucks Band will perform a 10-night residency at New York City’s Beacon Theatre from March 10 through March 28, with most shows already sold out. The group will then launch its Future Soul 2026 Tour on April 14.
The 35-date headlining tour, produced by Live Nation, will run through the summer and fall, with select dates featuring Alabama Shakes, Jason Isbell and the 400 Unit, Sheryl Crow, Lukas Nelson, JJ Grey & Mofro, and Molly Tuttle.
Beacon Theatre Residency – New York, NY
March 10 – The Beacon Theatre (Sold Out) March 11 – The Beacon Theatre (Sold Out) March 13 – The Beacon Theatre (Sold Out) March 14 – The Beacon Theatre (Sold Out) March 18 – The Beacon Theatre March 20 – The Beacon Theatre (Sold Out) March 21 – The Beacon Theatre (Sold Out) March 25 – The Beacon Theatre March 27 – The Beacon Theatre (Sold Out) March 28 – The Beacon Theatre (Sold Out)
Future Soul 2026 Tour Dates
April 14 – Dallas, TX – Music Hall at Fair Park April 15 – Fort Worth, TX – Will Rogers Auditorium April 17 – Houston, TX – Cynthia Woods Mitchell Pavilion April 19 – Georgetown, TX – Two Step Inn April 23–25 – Miramar Beach, FL – Sun, Sand & Soul April 28 – Alpharetta, GA – Ameris Bank Amphitheatre April 29 – Raleigh, NC – Coastal Credit Union Music Park May 3 – New Orleans, LA – New Orleans Jazz & Heritage Festival
June 14 – Manchester, TN – Bonnaroo Music & Arts Festival June 18–21 – Telluride, CO – Telluride Bluegrass Festival June 20 – Missoula, MT – Zootown Music Festival
July 22–26 – Floyd County, VA – FloydFest July 31 – Morrison, CO – Red Rocks Amphitheatre August 1 – Morrison, CO – Red Rocks Amphitheatre
August 4 – Seattle, WA – TBA August 5 – Seattle, WA – TBA August 7 – Portland, OR – Edgefield August 8 – Bend, OR – Hayden Homes Amphitheater August 9 – Stateline, NV – Lake Tahoe Amphitheatre August 12 – Berkeley, CA – Greek Theatre August 13 – Santa Barbara, CA – Santa Barbara Bowl August 16 – San Diego, CA – The Rady Shell August 17 – Los Angeles, CA – Hollywood Bowl (with The Black Crowes and Whiskey Myers)
August 22 – Indianapolis, IN – Ruoff Music Center August 23 – St. Louis, MO – Hollywood Casino Amphitheater August 25 – Grand Rapids, MI – Acrisure Amphitheater August 26 – Cincinnati, OH – Riverbend Music Center August 28 – Washington, DC – Wolf Trap August 29 – Washington, DC – Wolf Trap August 31 – Bethel, NY – Bethel Woods
September 2 – Lenox, MA – Tanglewood September 4 – Bridgeport, CT – Hartford Healthcare Amphitheater September 5 – Bridgeport, CT – Hartford Healthcare Amphitheater September 6 – Gilford, NH – BankNH Pavilion
October 9 – St. Augustine, FL – St. Augustine Amphitheatre October 10 – St. Augustine, FL – St. Augustine Amphitheatre October 13 – Clearwater, FL – The BayCare Sound October 21 – Milwaukee, WI – Landmark Credit Union Live October 23 – Chicago, IL – The Chicago Theatre October 24 – Chicago, IL – The Chicago Theatre October 26 – Chicago, IL – The Chicago Theatre October 27 – Chicago, IL – The Chicago Theatre
It’s been 57 years since TV icon William Shatner released his debut album, an utterly bizarre culty nugget called The Transformed Man. In more recent years, Shatner has occasionally returned to his music career, usually for shits and giggles. At least once in your life, you need to hear Shatner apply his bizarre spoken-word elocution to Pulp’s “Common People” on his Ben Folds-produced 2004 album Has Been. Shatner is now 94 years old, and he has just announced his first-ever metal album.
After hitting the ground running with the debut song ‘Chaos Inside‘, Kissing Kaos are back with a new single ‘Yesterday’s Kids‘, a hard-hitting hard rock anthem that captures the raw spirit that built the scene in the first place. The track is taken from the band’s upcoming album ‘To Your Limit‘, set for release later this year, […]
