Metallica have shared an update for collectors and hard rock fans with a new release tied to their recent era. The band announced a fresh Funko POP! Rocks figure set themed around 72 Seasons, continuing their ongoing partnership with the popular vinyl figure company.
In an official message, Metallica said: “In the fifth Metallica x Funko collaboration, we’re celebrating 72 Seasons! Get your hands on the complete set, including James Hetfield, Lars Ulrich, Kirk Hammett & Robert Trujillo as stylized POP! vinyl figures from Funko. Each figure stands approximately 3.8″ (9.7 cm) tall and comes in a window display box.”
The full set is available now through the band’s official shop.
Metallica also noted that more stock is expected soon, adding: “And we have more on the way! If we sell out before they arrive, the product will be available as a preorder again, which we expect to fulfill within the month.”
For fans who collect band merchandise or want something tied directly to the 72 Seasons cycle, this latest drop adds another piece to the growing lineup of Metallica x Funko releases.
Somebody Tried To Sell Me A Bridge, Van Morrison’s 48th studio album, sees the Northern Irish singer, instrumentalist, songwriter, and icon scaling across blues standards, backed by players well up to the task. Leading off the 20 selections here is two upbeat movers from Eddie “Cleanhead” Vinson, “Kidney Stew Blues” and “King for a Day Blues,” the former features popping horn bleats, the ladder slip sliding electric guitar and light piano tickling. And both showcase Morrison’s voice as expressive as ever.
Elvin Bishop guests on a raucous “Deep Blue Sea” and “Ain’t That a Shame” gets a work out next. It’s slowed down with female gospel singers, a crying guitar lead and Morrison delivering what might be his best vocal on the album. This odd ballad version of the Fats Domino classic might just be the gem of this whole collection. Taj Mahal guests all over Somebody Tried To Sell Me A Bridge, but I feel it’s his banjo, vocals and harmonica that best alight the flicky fun of Leadbelly’s “On A Monday.”
Along with Taj Mahal and Elvin Bishop, the musicians here include Morrison’s long-time musical collaborator John Allair, plus others he has played with for years like David Hayes, Bobby Ruggerio, “Friends Along The Way” associate Mitch Woods, Anthony Paule and the Anthony Paule Soul Orchestra, and the renowned Larry Vann on drums. And what a grouping it is!
Buddy Guy, present throughout, is truly featured on the last two tunes — Willie Dixon’s “I’m Ready” and “Rock Me Baby”. On “I’m Ready,” he and Van trade off vocals, in a barrage of singing that sounds like the men are having more fun than anybody should be allowed! On the B.B. King classic that ends the album, Guy talks a vocal a bit, but he is mostly playing smoking electric guitar lead. He’s another 80-something that can still deliver. Somebody Tried To Sell Me A Bridge proves that some musicians don’t really see a lessening of their talents and still have something to say. Let’s hope Van Morrison continues to say whatever he needs to for a long time to come.
A new streaming option built specifically for the metal and hard rock world is now officially live. ROKK, the platform founded by Kamelot drummer Alex Landenburg and Mentalist guitarist Peter Moog, has launched Direct Music Upload — a feature that allows artists to release music straight onto the service without needing labels, distributors, or third-party middlemen.
The goal is simple: make it easier for bands to get their music out while keeping control in their own hands. The upload tool is free to use and is open to any artist who owns the rights to their material.
Direct Music Upload is designed for independent musicians releasing on their own, artists working with aggregators that are not yet connected with ROKK (such as DistroKid or CD Baby), and even newcomers who have never put music on streaming platforms before.
Landenburg, who also plays with Cyhra, explained the motivation behind the move: “It’s hard enough to be an artist today, especially when you’re just starting out. With Direct Music Upload, we wanted to make releasing music simpler and fairer — and show that streaming can work differently, in a way that actually puts artists first.”
ROKK positions itself as a platform built around heavy music culture, describing the service as: “the ultimate streaming platform for all things hard and heavy, with superior sound quality and finally fair compensation for artists at its core.”
The platform has already gained attention for its payout structure and transparency. Unlike many major streaming services, ROKK pays royalties starting from the very first stream, with no minimum play threshold required before an artist begins earning.
Uploading music comes at no cost, and ROKK also does not take a percentage cut from artist payouts, keeping the model focused on supporting musicians rather than squeezing revenue out of them.
Once tracks are live, fans can also back artists directly through ROKK’s Direct Artist Support feature, giving bands another way to connect with listeners beyond standard streaming plays.
Direct Music Upload is now available for all registered ROKK artists, and new artists can access it immediately after signing up.
ROKK is currently available on iOS, Android, and via web access through here across Europe, with expansion into other regions planned down the line.
For bands looking for a heavy-focused alternative with more direct control, this is one platform making a serious push toward an artist-first approach.
Legendary New Wave Of British Heavy Metal veterans More have returned with new fire. The band has released “Spirits Of War”, the first single from their upcoming album Destructor, along with an official lyric video.
The new record, due March 6, carries extra weight for longtime fans. Destructor stands as the final production from late producer Chris Tsangarides, known for his work with Judas Priest, King Diamond, Helloween, and Yngwie Malmsteen. The last mix of the album was delivered from his own Ecology Rooms studio shortly before his passing in January 2017.
Tsangarides brought his signature approach to the sessions, applying his well-known Vortex guitar system to the sharp, driving guitar work throughout the album. The result is a record built on the classic More foundation, backed by a seasoned performance from the full band.
Bassist Baz Nicholls explained why “Spirits Of War” was chosen as the lead single: “Why ‘Spirits Of War’ as the single? While preparing Destructor for release, More began introducing new material into their live set. One song quickly separated itself from the rest. Each time it was played, ‘Spirits Of War’ drew the strongest reaction from the crowd, with audiences instinctively singing along to its unmistakable ‘Valhalla’ chorus chant.
It soon became clear that ‘Spirits Of War’ wasn’t just another track from the album — it was becoming a More anthem.
This track really sets the tone for the whole album — it’s a warrior anthem in every sense. It was one of Chris Tsangarides‘s favorites, which makes it feel like a fitting tribute to him. His spirit and influence run through this record, and this song captures that perfectly.”
The album’s journey to release has been long. The final mixes were rediscovered years later when Baz Nicholls recovered them from studio equipment after the facility closed, saving them onto a USB drive. From there, the band brought in mastering engineer Maor Appelbaum in Los Angeles, a longtime collaborator who had worked with Tsangarides on multiple projects.
Completed in 2025, Destructor balances classic NWOBHM power with a modern edge, serving as both a tribute to Tsangarides and a statement that More still belong in today’s metal conversation.
Few bands capture the grit and drive of the NWOBHM like More. Formed in London in 1979 by guitarist Kenny Cox, the group broke through with their major-label debut Warhead in 1981 via Atlantic Records. They toured alongside Iron Maiden during the Killers era and earned a slot at Monsters Of Rock.
Their follow-up, Blood & Thunder (1982), further locked in their reputation for rough-edged hooks and blistering riffs. Now, more than four decades later, the band are finally delivering their long-awaited third full-length studio album.
To release the record, the band formed their own label, Warhead Music LLP, with support from management and executive producer Dan McConomy. Destructor arrives worldwide March 6, 2026, with digital distribution handled by The Orchard. A limited signed CD digipack is also available through the band’s official online store while supplies last.
For longtime listeners, Destructor continues a story that started in the early days of British heavy metal. For new fans, it’s a clear reminder that More remain an active force, not a nostalgia act.
Originally formed under the name Defender, More became part of the second wave of NWOBHM, with Warhead and Blood & Thunder capturing the raw ambition of the era. Despite lineup changes and the shifting tides of the industry, the band endured.
Guitarist Laurie Mansworth later formed Airrace, while vocalist duties shifted between Paul Mario Day, Mick Stratton, and later Mike Freeland.
To celebrate Samantha Fish’s 2026 UK tour, the American guitarist and vocalist has released her new single “Rusty Razor” featuring Mick Collins. “Rusty Razor” is the latest single taken from Samantha’s album Paper Doll.
The single is released three weeks before Samantha’s Paper Doll UK Tour kicks off at the York Barbican on February 27th. Tickets for all her UK concerts are available here or here, except Edinburgh Queen’s Hall where tickets are available here.
Samantha is also pleased to announce that her special guest at all UK concerts is The Zac Schulze Gang.
The UK tour follows Samantha’s latest critically acclaimed studio album PaperDoll, that was Grammy nominated for “Best Contemporary Blues Album.”
Samantha will perform songs from her new album Paper Doll, plus tracks from her classic albums including Wild Heart, Chills & Fever, Belle of the West, Death Wish Blues, Faster, and Kill or Be Kind.
Samantha was also nominated for a 2024 Grammy for “Contemporary Blues Album of the Year” for her collaboration with Jesse Dayton on Death Wish Blues. Total Guitar voted Samantha as one of the “Top 100 Greatest Blues Guitarists” of all-time. In 2024, she joined Slash on his S.E.R.P.E.N.T. US tour.
The charismatic singer-guitarist-songwriter has earned a reputation as a guitar hero and a powerful live performer, while releasing a series of acclaimed albums that have shown her restless creative spirit consistently pushing her in new, exciting, and often unexpected musical directions.
The New York Times called Fish, “An impressive blues guitarist who sings with sweet power,” and “One of the genre’s most promising young talents.” Her hometown paper, the Kansas City Star wrote: “Samantha Fish has kicked down the door of the patriarchal blues club and displays more imagination and creativity than some blues veterans exhibit over the course of their careers.”
Samantha believes her musical future is an open road. “I’m never going be a traditional blues artist, because that’s not who I am,” she says. “But it’s all the Blues for me. When Muddy Waters and Howlin’ Wolf came out, what they were doing didn’t sound like anything that had been done in Blues before.
NEW ALBUM ‘LUNA MAUSOLEUM’ OUT NOW (NEW HEAVY SOUNDS)’
‘the wait has proved to be worthwhile, with Sky Valley Mistress now sounding leaner and tougher yet still unmistakably themselves’ – Classic Rock Magazine
‘an invigorating leap forward in terms of sonic invention and songcraft’ – The Arts Desk
‘one of the first must have albums of 2026 you need to own right now’ – Outlaws of The Sun
‘Luna Mausoleum’, the new album from Sky Valley Mistress launched on Friday 23rd January 2026 (New Heavy Sounds) and landed all over the Official UK Album Charts; Indie Album Breakers (9), Record Store Chart (15), Independent Album Chart (30), Album Download Chart (29) and Album Sales Chart (96).
Now their audio journey fuelled by 70’s hard rock, driven off the road to a fresh new destination is set to continue as the band announce a run of tour dates. The band comment,
“After four years of working consistently working the graveyard shift to create Luna Mausoleum, our only focus now is to celebrate its release with everyone who wants to hear it. If ain’t live it’s dead, right?!”
New album ‘Luna Mausoleum’ takes you through desert rock grooves and mountainous riffs, you are guided by Kayley’s soulfully smoked voice and her range of soaring, delicate, yearning and understated melodies as the band ride peaks and valleys of dynamics and pace with an eclectic selection of instrumentation of fuzz guitars, organs, real orchestras and a children’s choir.
Twisting influences of Queens of the Stone Age with Portishead and turning from Spiritualised-sized gospel choruses to the gallow heavy swing of Black Sabbath, with sound as fast as light they move between their influential orbit to create a modern classic that is entirely their own. There isn’t space in this genre the band haven’t explored. This is a demonstration of their refusal to wait for permission to create a record that stands in scale with some of the most monumental albums in rock.
The band’s statement on their intent behind creating ‘Luna Mausoleum’ was that it should be “greater and beyond all reason”.
Not only this but the first pressing of the record will be on ‘Moon Dust’ vinyl in a printed foil gatefold sleeve including a Luna Mausoleum card model that you can build released by New Heavy Sounds.
The band who has one member play every instrument so that they sound like a four piece in the studio, defy logic with aspiration with their iconic live show as a Duel-Drumming Duo. Vocalist Kayley “Hell Kitten” Davies takes the sticks and one half of a drum kit whilst original drummer Max “Leather Messiah” Newsome battles the electric guitar with the kick drum under his foot. No samples. No backing tracks. No click tracks. No one is playing rock and roll the ways these two do.
Good Day Noir Family,
A distant signal opens “Little Things”, and the impression is immediate. The track moves like a vessel cutting through deep space, alerting unseen cosmic creatures of its passage.
Little Things is LunaRover’s Single Out Now
Because of that opening gesture, the listener enters a futuristic environment before any rhythm fully settles. The sonic palette feels intentional rather than decorative.
The voice arrives heavily processed and deliberately artificial. Instead of hiding that treatment, LunaRover place it at the center. The vocal feels robotic yet intimate, distant yet oddly present. Meanwhile, the instrumental layers recall wide sci-fi imagery, echoing cinematic universes similar to Interstellar. The duo avoid grand excess. The groove stays steady, slightly industrial, and restrained.
Rhythm plays a crucial role here. The beat moves forward with purpose, yet it pauses at key moments. Those breaks act like chapter markers, signaling transitions rather than tension drops. The song breathes even while maintaining momentum. In addition, those silences highlight the precision of the arrangement.
LunaRover’s sound design remains their strongest signature. Every texture feels carved rather than stacked. Consequently, the track carries a cinematic quality without leaning on bombast. The duo’s approach suggests an evolution of electronic pop language. You can hear traces of Depeche Mode’s emotional minimalism, touches of Nine Inch Nails’ mechanical edge, and the melodic discipline of Pet Shop Boys. Still, the final result sounds softer and more hypnotic.
What truly defines “Little Things” is balance. The music never overwhelms the vocal, and the vocal never dominates the structure. Instead, both elements orbit each other. The track sustains interest across its runtime. Also, the mellow tone keeps the experience immersive rather than aggressive.
Toward the final section, a luminous pad emerges. It feels almost celestial, like a ray of light cutting through thick clouds. At that moment, the song opens emotionally without changing tempo. Then, rather than escalating, it resolves calmly. This choice reinforces the duo’s confidence in subtlety.
“Little Things” does not aim for instant hooks. Instead, it invites repeated listening. Each pass reveals new details, new textures, and new intentions.
Little Things is LunaRover’s Single Out Now!
Hypnotic!
LunaRover, the emerging artist hailing from Silver Spring, MD, United States, is making waves in the music scene. Influenced by iconic artists from the 80s like Tears for Fears and Duran Duran, LunaRover seamlessly blends vintage synthesizer sounds with a modern touch inspired by the likes of St. Vincent and Alabama Shakes. Their unique sound captivates listeners, transporting them on a sonic journey that resonates with both nostalgia and innovation.
Interview with Syndicate – East Heat #1 Green Rooms 07.02.26
1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.
Syndicate weaves a wide range of styles and emotional themes into their music. From their exhilarating dance number “It means the world” – which speaks on nuclear war (it works trust me). To the intense anthem “Sick of It” – which expresses the specific emotion that coincides being betrayed by those closest to you. Determined, Gritty, rap-metal that leaves the listener feeling empowered and ready for war.
2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?
We have never participated in M2TM before but we are all super excited to establish new friendships and connections through each and every event that we participate in. We look forward to giving it our best shot and having the opportunity to earn a spot at the Bloodstock festival.
3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?
The local scene is so very important to the livelihoods and careers of not only aspiring musicians but to entire local economies. Local venues provide a platform for upcoming artists to display their hard work and to reach higher levels in the industry.
4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages? We have played at the Green Rooms before and were excited to play there once again as it’s a great and intimate environment where the listeners and the band can feel a real sense of connection. Big up Jonny.
5. What are your expectations from being a part of M2TM?
We’re mainly looking forward to meeting new people and having a great time playing music together.
6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?
We have never played a festival before so if we manage to get through and actually play Bloodstock then it would be a dream come true
7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?
Make sure not to miss Scratch One Grub as they’re incredible. The sheer stage presence and ripping tunes intertwined with great production make the experience of watching them play pretty unforgettable. 8. Tell us in five words why people should come and see your band?
SoundArt Festival returns this year with its 7th edition, and a promising line-up that will blow your mind!
The festival’s new edition will take place on 13-14 of March, 2026, at Quantic Club- Bucharest.
What are you going to see at SoundArt 2026 edition: Weather Systems (UK) (ex-Anathema members Danny Cavanagh and Daniel Cardoso), Ordo Rosarius Equilibrio (SE), Planet of Zeus (GR), Dolch (DE), Calyces (GR), Shell Beach (HU), Euthymia (IT/DE), Davide Laugelli (IT), Hteththemeth (RO), Annapurna (RO), and A Broken Design (MT).
