Multi-platinum rock band Simple Plan have announced the next chapter of their massively successful U.S. headline run with the “Bigger Than You Think! Tour – The Sequel!,” returning to the road this summer following an unforgettable first leg. The “Bigger Than You Think! Tour – The Sequel!” continues Simple Plan’s 25th-anniversary celebrations with the kind of all-gas-no-brakes live show that has cemented the band as one of pop punk’s most beloved acts for more than two decades. Delivering a career-defining setlist including hits like I’m Just a Kid, Welcome to My Life, Summer Paradise and many more, the Live Nation produced tour will kick off July 24 in Las Vegas and bring the band to cities across North America that weren’t reached on the initial run.

The summer tour will once again feature special guests Bowling For Soup and 3OH!3 on all dates, making for a stacked lineup celebrating some of the most iconic and enduring artists of the pop-punk and alt-party era.

Reflecting on the decision to extend the tour, the band shared:

“Last summer, our ‘Bigger Than You Think!’ U.S. headline tour was one of the best times we’ve ever had on the road. Every single show was amazing and we had so much fun playing with our great friends Bowling For Soup and 3OH!3 — we honestly didn’t want it to end.

As soon as the last show wrapped, we knew we had to find a way to keep it going and visit all the awesome cities we missed on the first run.

So we couldn’t be more excited to announce the ‘Bigger Than You Think! Tour – The Sequel!’ coming to a city near you this summer! If you missed out last year or want to relive all the fun again, we can’t wait to play for you. The setlist will celebrate our 25 years as a band, packed with our biggest hits, fan favorites, and songs we haven’t played in years.

It’s going to be a blast — see you at the shows!”

TICKETS: Tickets will be available starting with a Verizon and Citi presale (details below) beginning on Tuesday, February 10. Additional presales will run throughout the week ahead of the general onsale beginning on Friday, February 13 at 10AM local time at officialsimpleplan.com.

Simple Plan will donate $1 from each ticket sold on this tour to the Simple Plan Foundation. Established in 2005, the Simple Plan Foundation focuses on helping young people in need and showcasing the power of music as a tool to find purpose and direction in life. Since its inception the Simple Plan Foundation has donated over $3M to various charitable causes and has been awarded many prestigious distinctions for its philanthropic work.

VERIZON PRESALE: Verizon will offer an exclusive presale for Bigger Than You Think! Tour – The Sequel! in the U.S through Verizon Access, just for being a customer. Verizon Access Presale tickets for select shows will begin Tuesday, February 10 at 12PM local time until Thursday, February 12 at 10PM local time. For more details visit Verizon.com/Access.

CITI PRESALE: Citi cardmembers will have access to presale tickets beginning Tuesday, February 10 at 12PM local time until Thursday, February 12 at 10PM local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.

VIP:  Simple Plan will also offer a variety of different VIP experiences for fans to take the day to the next level. Experiences vary but include meet and greets, selfie and photo opportunities with the band, VIP laminates, and more. All are ticketless upgrades. For more information, visit officialsimpleplan.com/vip.

TOUR DATES:

Jul 24 — Las Vegas, NV — The Pearl
Jul 26 — Valley Center, CA — Harrah’s SoCal
Jul 28 — San Jose, CA — San Jose Civic
Jul 29 — Reno, NV — Grand Sierra Resort & Casino — Grand Theatre
Jul 31 — Spokane, WA — Northern Quest Resort & Casino
Aug 1 — Bonner, MT — KettleHouse Amphitheater
Aug 2 — Nampa, ID — Ford Idaho Center Amphitheater
Aug 5 — Albuquerque, NM — Isleta Amphitheater
Aug 7 — Austin, TX — Moody Amphitheater
Aug 8 — Oklahoma City, OK — The Zoo Amphitheatre
Aug 9 — Maryland Heights, MO — Saint Louis Music Park
Aug 11 — Indianapolis, IN — Everwise Amphitheater
Aug 12 — Cincinnati, OH — The Andrew J. Brady Music Center
Aug 13 — Cleveland, OH — Jacobs Pavilion at Nautica
Aug 15 — Raleigh, NC — Red Hat Amphitheater
Aug 16 — Washington, DC — The Theater at MGM National Harbor
Aug 18 — Bridgeport, CT — Hartford HealthCare Amphitheater
Aug 19 — New York, NY — SummerStage in Central Park
Aug 20 – Toronto, ON –  RBC Amphitheatre + With Marianas Trench

The post Simple Plan Announces “Bigger Than You Think! Tour – The Sequel!” appeared first on Go Venue Magazine.

Out 20 February, 2026 Via Solistitium Records Words by: Courtney Stark Fire has a unique way of outliving memory and rarely announces itself as myth. The great blaze that consumed the town of Uppsala in Sweden in 1702 remains less a legend than a solemn, architectural reminder that cities — and belief systems — are […]

Written by Kep

Lemme tell you, there are few things I love in this world more than a good riff. Two good riffs, maybe. Hearing a particularly tasty set of them at the right moment can change the tack of my entire day. Perhaps that’s the reason for my affinity for the music of Slaughterday, the German duo that’s been cranking out good ol’ death metal full of well-crafted riffage since 2010. They don’t get the credit they’re due, if you ask me; with a discography already standing four quality full-lengths and three EPs strong, it’s a wonder we don’t hear them praised more frequently. Maybe Dread Emperor will be the album that breaks them through into the greater metal consciousness, and if so it’ll because of how many great riffs these guys write. 

Their lineup of guitarist/bassist Jens Finger and drummer/vocalist Bernd Reiners unchanged since the project’s inception, Slaughterday has achieved that which is relatively rare in music: utter consistent reliability. Damn good riffs and quality, uncomplicated songwriting feature across every thing they’ve released. There’s no need to wonder what this album is bringing to the table, because it’s the same thing they’ve been bringing for years. Even the programming of their records is consistent: eight or nine tracks, each in the four- to six-minute range, plus a cover to close things out. The one real deviation? Last year’s EP Terrified, a tribute to Repulsion and their seminal record Horrified, which featured original tracks in the style of the grind legends (and featured delightfully homage-y cover art). 

Dread Emperor does add one new wrinkle to the Slaughterday album formula: an instrumental intro track. Luckily, “Enthroned” isn’t any of that cliché atmospheric nonsense; it’s a grandiose stage-setter, with a repeated majestic riff that reminds the listener that old school death is a dear friend of doom. The mood properly established, “Obliteration Crusade” breaks out in headlong fashion. It’s a killer first taste of what’s to come on Dread Emperor because it serves as a whirlwind tour of the elements and songwriting tricks that make up their sound. You’ve got a classic ass-whipping thrashing death riff, harmonized guitars heralding a swinging bruiser of a chorus, a blistering solo that dovetails back into the harmonized pre-chorus line, a bridge of fierce tremolo work over running footwork from the drums, and finally an arrival back on the material that opened the track. It’s smart and efficient stuff, workmanlike in its willingness to give you what you want without any unexpected twists, done with the sort of veteran ability and savvy that elevates. 

It’s just good fucking death metal, period. Riffs that get any metalhead’s head banging abound start to finish, and these guys know how to deliver them to your earholes in a way that you know and love. When Finger lays down an expansive, melodic solo out of the main guitar line of “Rapture of Rot”, and then everything else drops away so we can get four bars of the bruising new triplet riff before the full band kicks in? We know what that feels like and have a good idea where it’s going, which is why it’s so damn satisfying to experience it done so well. The swaggery opening groove of “The Forsaken Ones”, and the way it just makes sense with the new tempo passage that follows. The thrashing romp that careens through the last moments of “Astral Carnage”. The racing melodic line in the chorus of “Subconscious Pandemonium” and the way it slips comfortably into and out of wrecking ball swinging triplets. The grimy funk in the measured main riff of the title track, opening to dark majesty with eldritch tendril licks waving like flags over ramparts in the chorus. None of this is new—hell, it’s not even really interpreted in a new way—but it’s all done so goddamn well that it lands effectively every time, and those moments bring you back for more. 

All in all, this is just good, competent death metal: well-written, well-performed, well-produced. Reiner’s stentorian roar is a powerful presence and his work behind the kit is precise and driving, while treading the doomier spaces particularly well also. Finger’s axework sounds full and suitably harsh, making thunderous chords and vicious tremolos sound equally great, and he makes particularly good use of harmony in his numerous solos. His bass is a mostly unobtrusive, supportive presence, but there are some nice spots where the unison tandem of bass and guitar makes for some particularly heavy grooves—there’s a great one in the back half of the title track, for example. 

THE BOTTOM LINE

Dread Emperor marks the fifth full-length outing for Slaughterday, and it’s exactly what we’ve come to expect from the heavily underrated old school death duo: uncomplicated but smartly-written tunes, highly enjoyable and full of great goddamn riffs to bang your head to. It’s a damn good listen. 

The post Album Review: Slaughterday – “Dread Emperor” (Death Metal) appeared first on Noob Heavy.

Good Day Noir Family,
A surge of intensity opens “Which Way Do I Go,” and the impact is immediate.

Which Way Do I Go is MILAN’s Single Out Now

The production hits with weight and clarity, wrapping around you in a solid, immersive wall of sound. This isn’t noise for the sake of drama.

There’s direction here. There’s control. The track feels engineered to pull you into a journey that unfolds with precision and purpose.

MILAN leads that journey from behind the keys. His keyboards and synths don’t simply decorate the arrangement; they steer it. As the layers build, he guides the band into terrain that feels expansive and slightly dystopian. The textures shimmer and pulse, yet they remain grounded in a strong melodic core. Because of this balance, the song never drifts into abstraction. It maintains a clear emotional line while exploring darker tonal colors.

The musicians surrounding him elevate the track even further. Damien Nolan, known for his work with Sting and Pete Townshend, adds guitar lines that cut cleanly through the mix, sharp yet restrained. Mauricio Mirapalheta complements that edge with subtle flourishes that widen the harmonic space. On bass, Sandy Beales, recognized for his role with One Direction, locks into a steady, confident groove that anchors the arrangement. Meanwhile, Caleb Gilbreath of Zac Brown Band drives the rhythm with measured power, giving the track propulsion and breathing room.

Then Abbie Parker steps in on vocals, and the song shifts into another dimension. Her voice carries warmth and strength in equal measure. It feels solid and assured, yet it also carries a cinematic quality that lifts the chorus to striking heights. As a DOVE award winner, she brings experience and nuance, but more importantly, she delivers emotion without excess. Each phrase lands with clarity.

The overall arrangements reveal impressive refinement. The transitions glide smoothly, and the dynamic shifts feel earned rather than forced. The song unfolds like a scene in a sci-fi film. You can almost picture distant cities glowing under artificial skies while a lone figure searches for direction. The title, “Which Way Do I Go,” reinforces that sense of existential drift, yet the music itself provides momentum.

This track doesn’t overwhelm; it envelops. And as it reaches its final moments, you’re left suspended between uncertainty and hope.

Which Way Do I Go is MILAN‘s Single Out Now!

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Cinematic!

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Which Way Do I Go is MILAN’s Single Out Now

Milan Suta is a composer, producer, and keyboard player broadcasting from the heart of Europe. Based in Prague, Milan bridges the gap between classic stadium rock and modern electronic production, crafting a sound built on driving basslines, massive guitars, and his signature synth textures.

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The post Which Way Do I Go is MILAN’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Good Day Noir Family,
Cling Film’s “City of Wind” opens with a solitary arpeggio that hangs in the air just long enough to set the mood.

City of Wind is Cling Film’s Single Out Now

 Then, almost without warning, the voice steps in—no grand introduction, no dramatic build—just a direct entry that immediately signals a distinct artistic identity. There’s something bold about that choice. It feels confident, almost disarming, and it pulls you into the artist’s world without ceremony.

The rhythm section reveals its true character. The counterbeats shift beneath the melody with a refined instability, creating tension that never quite resolves in predictable ways. The song breathes with an off-balance grace. It moves forward, yet it sways sideways. That subtle rhythmic push and pull gives the track a restless pulse, and because of that, it never drifts into safe territory.

The vocal tone deserves special attention. It carries an almost androgynous timbre, which adds mystery and emotional ambiguity. At times, it recalls the introspective edge of R.E.M.; elsewhere, it hints at the eccentric cool of Beck. However, there are also shades of Tori Amos in the way the phrasing bends around the melody. Still, Cling Film doesn’t imitate. Instead, these references act like distant constellations, helping you navigate a sound that ultimately stands on its own.

As the track unfolds, background vocals bloom in unexpected corners. They don’t simply decorate the chorus; rather, they create a rich interplay with the lead, almost like a dialogue between inner thoughts and outward expression. Because of this layered approach, the song opens up emotionally. It expands rather than explodes. And that distinction matters.

Stylistically, “City of Wind” lives in a space between nostalgic alternative rock and light psychedelia. Yet it avoids retro clichés. The production remains focused, clean, and intimate. At the same time, there’s a subtle haze that gives the song depth without drowning it in effects. The result is music that speaks directly to the listener’s inner life. It feels personal, reflective, and slightly elusive.

By the end, you realize that Cling Film has crafted more than just an alternative rock single. He has built a shifting emotional landscape where rhythm, voice, and atmosphere coexist in delicate balance.

City of Wind is Cling Film‘s Single Out Now!

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Intense!

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City of Wind is Cling Film’s Single Out Now

Cling Film, formerly known as Marylin Mezzo, is a singer and multi-instrumentalist who has performed across Italy and the U.K. with projects such as La Syndrome and Hinged. A lifelong wanderer, she channels her sense of displacement into music that reflects constant change and exploration.

Now based in Glasgow, Scotland, Cling Film moves through different shades of alternative rock and pop, blending diverse influences while keeping lyrics at the center of her work. Writing in multiple languages, she shapes songs that are personal, reflective, and rooted in lived experience.

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The post City of Wind is Cling Film’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

We thinking apes who live through memories of conclusions derived from event change in sense simulacra of the world find ourselves continually going over memory, wondering if what we know now is what we knew then and if it is even real.

In that vein, it makes sense to sometimes revisit items from the past like The Blues Brothers (1980) which most people in that era would have identified as a really funny movie. It is not, and it sometimes is.

Like most cinema these days, this movie is a cartoon and, because supernatural or extranormal events occur, qualifies as early “capeshit” despite being a comedy. In these cartoons, the traits of people are indicated by their category, which makes for funny stereotype play because like robots, people act out their assigned roles even background events change and make that ludicrous.

It is like a Shakespearian tragedy-comedy in that sense, because people do what they do because of what they are as seen by the audience, so you have maniac cops who will drop everything to chase down a lawbreaker even as that quest waxes Ahabian and ruins everything.

The original capeshit was probably Star Wars (1976) because it combined hard action with magic from a religious realm, so it was no longer constrained to trying to make every element in the story be compatible with known reality. Just add “the force” and suddenly everything is OK.

In The Blues Brothers, two orphans embark on a mission to save their orphanage by singing their favorite blues and motown songs to an audience of morons. This sets off what is ultimately a masterpice of physical comedy that otherwise is not that funny.

Like most postmodern things, it is shot through with the equality mythos; how else do you end up at the idea that form=content except by making everything equal, effectively abolishing content as much as Christianity abolished the physical world in order to embrace a symbolic one? Postmodernity renders everything to symbol, and the form here is not so much the literary pyrotechnics of postmodern fiction but the cartoon-like tendency for each person to be a stereotype of what their character is.

As part of this, there is of course worship of the African and denigration of the redneck American and the “Illinois Nazis,” ironically representing the ACLU-defended march of Frank Colin (née Cohen) through Skokie, famous for its Jewish community. One does not need to defend that stupid act of Jewish Nazi self-hatred to realize that Hollywood is bashing some familiar tin drums here.

Naturally seeing Aretha Franklin, Cab Calloway, Pee-Wee Herman, James Brown, Ray Charles, and John Lee Hooker ham it up in a movie about music is great fun, as is Carrie Fisher’s presaging the overly-attached girlfriend meme in a Romanian version with great psychotic zeal. Mostly however, the audience for this movie was the same as those who would tune in to The Dukes of Hazard, namely people who like slapstick and car crashes.

Like all postmodern things, it converges on a gentle version of the French Revolution. All the misfits — orphans, nerds, geeks, minorities, Christians — join together to overthrow the nasty authority figures and do something fun instead of, you know, going to work, paying taxes, shopping, and watching TV.

In the end, this makes the movie hollow like a cartoon. It is presenting simplistic stuff for simplistic people, and mostly, we watch it for the car crashes and explosions. A more perfect vision of modernity would be hard to find.

Words by: Simon Russell-White Out 13 February, 2026 Via Epitaph How good is that feeling of excitement when talks start to swirl about a band you love and desire is about to drop a new studio album? From childhood to adulthood, for this reviewer at least, that feeling has never waned, and it never will! […]

Good Day Noir Family,
There’s a pulse running through “Somersault” that refuses to sit still. Mia Rose Brake doesn’t ease you into her world; she throws the doors open and lets the heat rush out.

Somersault is Mia Rose Brake’s Single Out Now

The track surges with rock energy, yet there’s also something theatrical in the air, almost ritualistic, as if a hidden ceremony were taking place under stage lights.

That subtle hint of voodoo atmosphere pulls the imagination straight to New Orleans, where rhythm and mysticism often share the same breath.

The guitars strike with purpose, sharp and alive. However, it’s the groove that truly anchors the song. The drums push forward with restless urgency, while the bassline coils underneath, giving the whole structure a dangerous sway. You can almost see the dust rising from a wooden floor in some dimly lit club.

Then there’s Mia herself. Her voice arrives bold and self-assured, cutting through the mix with clarity and intent. She sings with control, yet she never sounds restrained. On the contrary, she leans into each phrase with interpretative flair, adding little flashes of attitude that make her delivery feel slightly irreverent. At times, I caught a hint of Gwen Stefani in the way she bends certain lines — that same confident snap, that playful defiance, that sense she’s fully in charge of the stage. She channels that spirit and reshapes it into something distinctly her own.

There’s a sacred fire of rock running through her performance. You sense it in the way she attacks the higher notes and in the grit she allows to color key moments. This isn’t detached studio perfection. It’s lived-in, raw, and unapologetic. Because of that, the song feels urgent and real rather than polished for safety.

At the same time, the theatrical undertone adds depth. The arrangement rises and dips with dramatic timing, almost like scenes unfolding in a compact rock opera. The chorus bursts open with infectious force, and suddenly you’re not just listening — you’re moving.

“Somersault” fills your veins with adrenaline. It makes your shoulders loosen and your feet tap before you even notice. In a landscape crowded with predictable rock releases, Mia Rose Brake stands out with confidence and spirit. This track feels like a reminder of why rock still matters: it energizes, it provokes, and it sets something wild alight inside you.

Somersault is Mia Rose Brake‘s Single Out Now!

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Energetic!

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Somersault is Mia Rose Brake’s Single Out Now

Mia is a bold, unsigned female artist driven by honesty, volume, and fearless self-expression. Known for her powerful (and unapologetically loud) voice and electric stage presence, she creates explosive yet thought-provoking songs that refuse to stay quiet.

Drawing inspiration from jazz influences and the theatrical energy of Queen, Mia fuses live-sounding pop-rock with touches of punk and sharp, poetic lyricism. Her music dives into snapshots of teenage dreams, mental struggles, and the chaos the mind can create—stories that feel deeply personal yet strikingly universal.

Mia isn’t here just to entertain; she’s here to expose, to question, and to reach those who are too afraid to be themselves. Because in her world, being loud isn’t a flaw—it’s freedom.

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The post Somersault is Mia Rose Brake’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Thrice releases Audiotree From Nothing session was originally published on HM Magazine by Nao Glover.

Today, genre-defying rock band Thrice release their stunning Audiotree From Nothing session, featuring tracks from their latest record, Horizons/West, which also appeared on HM’s Top 25 Albums of 2025. Thrice’s Audiotree From Nothing session showcases the band’s evolution and incredible musicianship through both story and song. Through riveting performances of “Vesper Light,” “Albatross,” “Holding On,” […]

Thrice releases Audiotree From Nothing session was originally published on HM Magazine by Nao Glover.

When people talk about the foundations of modern science, the same names tend to appear. Newton. Galileo. Sometimes Voltaire, positioned as the public face of the Enlightenment. What rarely comes up is the woman whose work helped define how Europe understood physics at all. Émilie du Châtelet did not orbit these men or exist at the edges of their achievements. She worked alongside them, argued with them, and in some cases corrected them.

She lived in eighteenth-century France, a world where science was formal, exclusive, and openly hostile to women. Universities were closed to her, and scientific institutions were not designed to include her. None of this stopped her from becoming one of the most serious scientific thinkers of her time.

Du Châtelet trained rigorously in mathematics and physics, hiring tutors and devoting herself to subjects women were expected to admire from a distance, if at all. She approached science as disciplined work, not as a pastime or social ornament. Through correspondence and collaboration, she engaged directly with leading European scientists and earned their respect through precision and depth rather than novelty.

Her most influential contribution was her French translation of Isaac Newton’s Principia. This was not a neutral or mechanical task. Newton’s original text was notoriously dense and inaccessible, even to trained scholars. Du Châtelet restructured its arguments, clarified its concepts, and added extensive commentary that guided readers through its logic. In doing so, she played a foundational role in how Newtonian physics was understood, taught, and debated across Europe.

That translation remains the standard French edition today, meaning that generations of readers have encountered Newton through her intellectual framing.

Alongside this, du Châtelet produced original scientific work, particularly on the nature of energy and motion. At a time when many scientists treated Newton’s ideas as settled doctrine, she was willing to question them and argue for alternative interpretations. She participated fully in scientific debate and was unafraid to disagree when she believed the evidence demanded it.

She published under her own name, argued publicly, and claimed intellectual authority in a field that defined authority as male. Her presence was practical rather than symbolic, grounded in work that shaped debates and outcomes rather than representation. She refused to treat knowledge as a gendered possession and operated as though access to science required no permission.

During her lifetime, her work was respected and cited. After her death, it was gradually absorbed into the broader narrative of Enlightenment science. Her ideas continued to shape the field, while her name became less visible, folded into a story that favored male lineage over intellectual contribution.

Émilie du Châtelet shaped the intellectual structure of modern physics in ways that remain in use today. Her work needs no reinterpretation to justify its importance. Its clarity, rigor, and authority speak for themselves.

The post She’s In Charge: The Woman Who Made Physics Legible first appeared on FemMetal – Goddesses of Metal.