Cinzia & The Eclipse will release The Wax EP on March 20, 2026. The Montreal singer-songwriter has also shared a new single, Thread, ahead of a Quebec run that opens March 6 at Petit Campus.
Thread is a slow-build, acoustic-led track that traces how early curiosity in a relationship can tip into something more fragile. “If you’re not careful you begin to lose yourself and your flexibility starts to turn into begging,” Cinzia said, describing the shift the song captures. The arrangement stays measured and uncluttered, giving the lyrics space to land.
The five-track EP pulls together songs she has been previewing over the past year, including Home and When I Think About Us. Written during what she describes as two difficult years, the project marks a change in how she approaches her own stories. Looking back at her earlier material, she realized she often framed songs around other people’s choices. “This body of work is a way to own up to choices I’ve made, as opposed to blaming other people for situations we found ourselves in,” she said.
The sessions took shape with LucaTheProducer and Markybeats, along with a writing night that included Emma Lamontagne and Vanessa Roque, known as Exa. The sound stays rooted in folk-pop, built on acoustic textures and light atmospheric touches that nod to the eclipse imagery she has woven into her project from the start.
Cinzia has grown her audience steadily through festival appearances at Festivoix, Ottawa Bluesfest, Festival sur le Canal, and St. Roch XP, and through a consistent run of singles. She has also timed recent releases around lunar cycles, a detail that longtime followers will recognize.
The Quebec dates begin March 6 at Petit Campus in Montreal, followed by March 19 at Source de la Martinière in Quebec City. Stops in London, Hamilton, and Toronto round out the spring run.
The Wax EP includes When I Think About Us, Runner, Thread, I’ll Be There, and Home.
Nameless Grave Records is proud to announce the signing of LIVIDUS, a project that stands at the crossroads of progressive black, death, and avant-garde metal. Anchored by the incredible vocal presence of Uta Plotkin (ex-Witch Mountain), the band will release their debut full-length, Scarabaeus, on April 17, 2026.
The album marks a significant return for Plotkin, showcasing her trademark seamless interplay between clean, emotive singing and punishing screams. Joining her in the current iteration of the band is an elite lineup of the Portland underground featuring Christy Cather (Ludicra), Rob Shaffer (Uada, Dark Castle), and Michael Thompson (ex-Silver Talon).
Produced, mixed, and mastered by Keith Merrow at Merrowsound Studios, Scarabaeus eschews modern trends for a weird approach reminiscent of the adventurous spirit found in Voivod, Hammers of Misfortune, and the progressive peaks of Death, Nevermore, and Emperor.
“LIVIDUS is the exploration of the unexpected,” the band states. “We wanted to bridge the gap between the melodic and the dissonant, using the viola and Uta’s vocal range to tell a story of endurance and the aftermath of trauma. This is heavy metal at its most eccentric.”
In 10 years of reviewing shows for Montreal Rocks, tonight’s is a first; I can literally walk to the show from my house. And I live in Dorval, in the suburbs of the West Island. The novelty is not lost on me as I head to tonight’s show at the local library, turning left on the way in to drop off some books, then turning right to head into the Peter B. Yeomans Cultural Centre for tonight’s show, part of a winter “Cabaret Night” series. And if that wasn’t great enough, free popcorn is provided!
Tonight’s headliner, Brittany Kennell, will always hold a special place in the heart of Montreal Rocks. Back in the hellish days of COVID in August 2020, when live music was nowhere to be seen, Brittany invited us to attend a live show, socially distanced of course, that was being broadcast online. Of course, I was more than happy to go, and it was a truly memorable evening that I still remember fondly.
If Country music was popular then, it has truly exploded in the years since. The 2-day Lasso festival that finally started in 2022 is a huge part of the Montreal calendar, of course, but even in the alternative world, the nu-Country sub-genre has been exploding of late too; just look at the rise of Wednesday and MJ Lenderman! Brittany has certainly been in the thick of things, appearing at Lasso, of course, but also gracing the stages of festivals such as Ottawa Bluesfest, Calgary Stampede, and many more. In August 2021, she became the first female Quebec artist to perform at the Grand Ole Opry in Nashville. And she even sings the anthem at Habs games from time to time! An impressive CV for sure, so it’s a real blessing to have her performing so close to home!
Her usual 4-piece backing band is shrunk down to just 2 tonight, consisting of guitarist Antoine, with Mario on the cajón, that kind of box drum you sit on and slap with bare hands, so it’s a much more stripped-down, acoustic vibe. It works well across the whole of Brittany’s catalog, especially on songs like Eat Drink Remarry and Bought the T-Shirt, which originally carried a lot more production. Antoine provides note-perfect harmonies on Neither Did I and new song Country Club, and also switches to a mandolin on songs like Wait on You, Wallow, and Life’s Waiting on Me, which adds even more variety to the sound at regular intervals. Mario only gets 1 song off during the set too; how he avoids chronic back pain from hunching over that cajón all night, I will never know!
The crowd is more senior than your average, so a number of covers are peppered across the 20-song set, including Dolly Parton, Chris Stapleton, Zach Top, Sheryl Crow, Dixie Chicks, and The Band, the latter of which gets a couple of old guys singing along at the top of their voices! The show really does have a cozy community feel to it, with so many friends, family, and neighbours in attendance; even Brittany remarks, “it feels like a living room show!”
It’s a great 90 minutes from start to finish, and as I enjoy my leisurely stroll home, I know I’ll be looking out for more of these Cabaret Nights in future!
Something you may have noticed when Lamb Of God announced their forthcoming album Into Oblivion was the sudden change in the band’s logo. Having used the same look for years and years, the sudden switch to a more modern, stark looking logo might have stood out to long-time fans. And according to frontman Randy Blythe, the change was a deliberate one.
During his recent appearance on the Hardlore podcast, Blythe said the decision to change the logo after nearly three decades was a long time coming.
“Our logo, to be perfectly honest, needed changing. It’s the papyrus font. Had we known 20-whatever years ago that we would wind up looking like a falafel restaurant menu, we wouldn’t have used that.”
Now that he mentions it, I never noticed that you could write the logos from the Avatar movie series. Ryan Gosling probably hated the shit out of that logo. This new logo sort of reflects the new direction the band’s going with Into Oblivion, that’s for sure.
In addition, Blythe said the writing process for the new record saw the band’s members set aside their egos after years of trying to do so and work toward making all effort spent benefitting the band as a whole.
“When you’re a younger band… writing was very contentious. Somehow in our old age, as we wander off into Alzheimer’s-riddled legacy territory, we’ve learned to get along better than we ever did.”
To that end, guitarist Mark Morton said this new album benefits immensely from that shared creative freedom.
“For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation. Let’s just make music that we think is cool — which is really where it all started.”
Into Oblivion will be released on March 13 via Epic Records, but you can preorder your copy today. Lamb of God are also going to be headlining a killer tour with Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg in the not too distant future. You can check out the full list of tour dates below.
Lamb of God tour dates:
March 17 — National Harbor, MD @ The Theater at MGM Nation al
* Not a Live Nation show
2026 Festival Performances
May 14–17 — Columbus, OH @ Sonic Temple Art & Music Festival July 24–27 — Plovdiv, BG @ Hills of Rock July 27–31 — Râşnov, RO @ Rockstadt Extreme Fest August 1 — Wacken, DE @ Wacken Open Air August 5–9 — Lisbon, PT @ Vagos Open Air August 6–9 — Kortrijk, BE @ Alcatraz Open Air August 7 — Walton-on-Trent, UK @ Bloodstock Open Air August 12–16 — Dinkelsbühl, DE @ Summer Breeze August 13–15 — Sulingen, DE @ Reload Festival August 14–16 — Eindhoven, NL @ Dynamo Metalfest October 30–November 3 — Miami, FL @ Headbangers Boat
Metal Blade‘s founder, CEO and longtime CLONE, BRIAN SLAGEL, recently joined Jim Rome on his sports podcast to talk metal. In the episode that is now live, Brian talks about befriending Lars Ulrich as a teenager, getting credit for launching Metallica, his pick for greatest metal album of all time, why metal is in such a great place right now and much more.
The Jim Rome Podcast is a premier daily sports talk podcast featuring host Jim Rome‘s opinionated and fast-paced analysis of the biggest stories in sports. Known for its unique, loyal, and vocal community of fans known as “CLONES,” the show is built on strong, definitive takes, often including, but not limited to, extensive NFL coverage, celebrity interviews, and listener-driven content.
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Founded in 1982 by Brian Slagel, Metal Blade Records is a premier independent heavy metal record label that launched legends like Metallica, Slayer, and Cannibal Corpse. Starting in Los Angeles to promote local bands through the Metal Massacre compilation, it has grown into a global powerhouse for hard rock and extreme music, boasting a diverse roster.
February 13, 2026 – Former SKID ROW frontman Sebastian Bach isn’t wasting his time with online negativity anymore. In a recent interview with Jason Irwin of RadioRadioX.com, Bach got real about dealing with social media and the “noise” surrounding his music career.
“I don’t even care about social media,” Bach said, as reported by BLABBERMOUTH.NET. “I use social media to promote my shows. It doesn’t mean anything… It’s like a big nothing.”
The veteran rocker explained that he’s long since stopped reading comment sections. “It’s been years since I bothered reading a comment section or whatever. I have better things to do with my time.”
Looking back at the early days of the Internet, Bach admitted he once got caught up in online drama. “Ten, fifteen years ago, yeah, I was reading comments and threatening people to fight down at the Chick-fil-A. Then I go, why am I wasting my time?” Today, he says, “Nobody really cool is on there typing shit. It’s all a bunch of jealous losers that have nothing else to do.”
Bach still enjoys classic rock content online, citing bands like ROSE TATTOO and KISS as favorites, but he’s no longer concerned with what random strangers think about his work.
Bach Returns to the Road with “The Party Never Ends” Tour
Sebastian Bach is back on tour, kicking off his 2026 North American headline run, “The Party Never Ends”, on February 26 in Highland, California at Yaamava’ Casino. Joining him is STITCHED UP HEART, handpicked by Bach for his canceled 2020 tour celebrating the original SKID ROW album.
The tour features Bach’s current band lineup: son Paris Bach on drums, “Bruiser” Brody DeRozie on guitar, and Fede Delfino on bass.
“Child Within The Man”: Bach’s First Full Album in Over a Decade
Bach’s latest studio effort, 2024’s “Child Within The Man”, marked his return to full-length albums after more than ten years. Critics praised the album:
Associated Press: “It shows a fierce performer in prime fighting form… his vocals remain sharp and his songwriting talents as cunning as ever.”
Ultimate Classic Rock: “Bach’s voice has lost none of its rage or range, even in the highest registers.”
Tracks like “(Hold On) To The Dream” earned spots on Consequence’s “30 Best Metal & Hard Rock Songs of 2024”, hailed as “a late-career masterpiece… an inspiring anthem about perseverance.”
The album was recorded in Orlando, Florida, produced and mixed by Michael “Elvis” Baskette, engineered by Jef Moll, with mastering by Robert Ludwig of Gateway Mastering. Bach co-wrote all 11 tracks and handled all lead and backing vocals.
Guest appearances include John 5 (MÖTLEY CRÜE, ROB ZOMBIE, MARILYN MANSON), Steve Stevens (BILLY IDOL), Orianthi (ALICE COOPER, MICHAEL JACKSON), and Myles Kennedy (ALTER BRIDGE). Session players include Devin Bronson, Todd Kerns, and Jeremy Colson.
Beyond Music: TV, Broadway, and Celebrity Appearances
Bach hasn’t just been busy with music. He appeared on Food Network’s “Worst Cooks In America Celebrity Edition: Heroes vs. Villains” in January 2025 and was featured in A&E’s “Biography: Rock Legends” in June 2024. In 2023, he played “Tiki” on Fox’s “The Masked Singer”.
Stay Connected, Skip the Hate
Sebastian Bach’s message is clear: focus on what matters, ignore the haters, and keep making music. Fans can follow his tour dates, new releases, and projects via his social media—but don’t expect him to engage in comment wars anytime soon.
Dennis Atlas has announced the global release of his solo album titled Principle on May 15 via MRI. Today, he shares the lead single “Violent Power.” The anthemic track brings each listener into a world where humanity’s ability to thrive is so potent that the forces of violence are not just defeated, but instead have no bearing on existence in the first place.
The song features world-renowned drummer Marco Minnemann and Atlas on lead vocals, keys, bass, and guitar, and was co-written by Dennis Atlas and Steve Bonino. The official video was shot and directed by Toto frontman Joseph Williams.
Atlas shares, “Joe and I were at my studio going over some vocals for the upcoming Toto tour. I showed him my rough draft for a video I had for ‘Violent Power,’ since he had expressed interest in helping me with this kind of stuff. He completely altered what would become the world’s introduction to this album, steering the imagery, lighting, and videography into a vision that supported the song. Then, he even helped guide me down the right path with the editing. Once he was involved, what we came up with immediately made my rough draft look like a joke! It was night and day! I couldn’t be more thankful and appreciative of his time and support. And thank you to my good friends Marco Minnemann (on drums) and Steve Bonino (co-writer of this song) for making their cameos in this video! And to Sabrina at UnicornCat Artworks for the awesome animated album cover. To me, the video now perfectly encapsulates the energy of the song ‘Violent Power,’ ready for release as the lead single!”
Within the world of Dennis Atlas, his creative mission navigates a path that aspires to reach that place where integrity and excitement meet. His world is one where those two concepts are intrinsically tied. Integrity is met and honored in the form of honest raw authenticity. And when it comes to his presence, whether creating independently or as a member of Toto’s ensemble, it is no surprise he’s become a crowd favorite with electric energy that lights up any room or stage.
Atlas shares, “I love to make music that is concise and relatable, regardless of what form or length it takes; that’s always my aim. There has to be deep intention in what I am saying, why, and who I am saying it to. Then every note is potent with meaning and significance. That’s when I am able to carry it energetically into a sonic package that is unmistakable, memorable, and identifiable. In the form of these melodies and lyrics, it is this energy exactly that I hope people think of when they hear the name Dennis Atlas.”
With this new album titled Principle, Atlas reflects, “The spontaneous, and the hyper-critically considered (planned) both meet into one explosive container that is each of the audio files of these 11 songs. I hear months of planning and moments of levity/epiphany both bred into the fabric of what makes this album what it is. It is both exciting and deeply-rooted fulfillment to listen back to these works, and to smile at the good feelings that I have associated with the contributions from everyone involved.”
And that list of contributors is deep, featuring performances from Steve Lukather, Bumblefoot, David Paich, Joseph Williams, Shannon Forrest, Warren Ham, Marco Minnemann, Steve Bonino, and others. The album was mixed by Trev Lukather and mastered by Bumblefoot. The album art and logo design — the work of Sabrina Lau at UnicornCat Artworks.
Atlas grew up in Santa Clarita, California, right next to one of the biggest and best rollercoaster amusement parks in the world, with a loving family (Mom, Dad, and big brother) who taught him everything he carried with him tied to loving life. Like many, he and his brother started a band in their early teens. He was influenced by bands including Styx and Queen, who unapologetically took any stylistic approach to music that authentically excited them, and put it across in a way that millions or billions of the public could sing along to and also dig deeper.
He was encouraged as a young man to be creative, and shares, “I never wavered or remember wanting anything else than to be a rockstar.” As he reflects on the past, he recalls, “I’m glad I had a lot of the failures and successes I had before the Toto call came along. There was so much I learned about preparedness, attitude, and simply the context (perspective) of what choices are out there. I also experienced being at home with no gigs and no money, simply working deeper on my own craft, or even having a temporary loss of motivation, then having to find and discover what excites/excited me again. All of this played a huge part in deeply respecting and truly cherishing the situations I do get the privilege of being involved in, and especially the position I have now.”
Atlas is as well-grounded a young man walking planet Earth as there is. He concludes, “I am so indescribably lucky to have a team and band around me that is not only so great and so legendary, but so supportive of me and what I do. I’ve heard of musicians getting fired from a gig for mentioning their solo material in an interview. Yet, here I am with a whole group of bandmates who all wanted to play on my album. It’s a dream I couldn’t have even dreamed up. So here we go into dreams of as many rollercoasters (and other cool experiences) as we can ride together through the power of this music!”
East Nashville hard rock force KALAMITY KILLS has released its powerful new single, “These Days Are Evil,” an urgent and unflinching anthem confronting division, manipulation, and digital-age addiction while calling listeners back to human connection and personal responsibility.
Written primarily by frontman Jamie Rowe in late 2024 and completed in collaboration with guitarist Jamey Perrenot, the track captures a sense of cultural unrest and psychological tension that feels unmistakably current. Blending aggressive riffs, driving rhythms, and a massive, chant-ready chorus, “These Days Are Evil” stands as one of the band’s most focused and explosive releases to date.
“I wrote most of this song in late 2024 knowing it was something special,” says Rowe. “Putting it in Jamey Perrenot’s hands to take it across the finish line has resulted in my favorite KALAMITY KILLS track to date. Look, it’s no secret the world is in a dark place these days, but we have a say in how we treat others. I want to see the good in people. An act of kindness goes a long way right now. Maybe we all need to take a second away from our screens and show up for someone in the real world. That’s what this song is really about: waking up to the manipulation, refusing to be pawns in their game, and choosing connection over division. We can’t control the chaos around us, but we can control how we respond to it.”
The single explores themes of manufactured outrage, screen-driven identity, fear-based messaging, and the constant battle for attention and influence. At its core, however, the message is not despair but choice. While the world may feel unstable, the band emphasizes that individuals still control how they treat one another.
Emerging from East Nashville’s thriving rock underground, KALAMITY KILLS continues to build momentum with music that challenges as much as it energizes. “These Days Are Evil” reflects a band unafraid to confront uncomfortable truths while offering a path forward rooted in awareness and compassion.
60 years of Rock’n’Roll! The legendary debut ‘Lonesome Crow’ is back – remixed by Grammy winner Hans-Martin Buff and released as a limited transparent vinyl & CD with liner notes by Klaus Meine and Rudolf Schenker! Pre-order now: https://umg.lnk.to/_LonesomeCrow
