Motionless In White has shared the official music video for their brand new single, “Afraid Of The Dark”. The song connects Motionless In White‘s past, present, and future — mixing metallic fury with electronic embellishments. The result is a fist-in-the-air anthem that will be instantly beloved by the Motionless faithful.

“20 years ago, I stepped into a tour van with my best friends, having no idea what was next every mile we drove down the road,” says Motionless In White singer Chris Motionless, pulling back the curtain on the song’s origin story, which is rooted in the band’s own history. “Funny enough, we broke down two hours later in the AM hours in a snowstorm. We had to sleep on the floor of a rest stop on the side of the Interstate and wait what felt like forever for a tow truck. We were forced to cancel the first few shows of our first tour ever, and to figure out how to scrape up every cent we could to try and get the van fixed and get back on the road. Nothing was ever going to stop us. There was never a doubt that we would find a way to live out our biggest dream and set a precedent for anything standing in our way.”

He continues: “On our 20-year anniversary, that spirit is burning just as hot as it was on that day. We refuse to settle, refuse to let any opposing force stop us from clawing our way up from hell, and we refuse to fear the dark of the unknown. I want the story of MIW to inspire anyone listening to not fear the unknown, but to run head first into it with everything they’ve got. This song is about taking control of your destiny and writing the script of your own future without any doubt or apprehension. For those of you who have been with us for any part of the last 20 years, this one is for you. If you mean it, you will make it.”

Motionless In White will spend the spring on tour supporting Bring Me The Horizon, including a performance at Madison Square Garden and at Welcome To Rockville and Sonic Temple festivals.

Motionless In White has always stood out from the crowd. Mirroring alternately brutal and breathtaking sonic artistry against elegant and enigmatic imagery, the gold-certified, Scranton, Pennsylvania quintet has organically drawn legions of fans under its spell since 2006. A steady grind has elevated them to arena headliners.

After earning three straight Top 5 debuts on the Billboard Top Hard Rock Albums chart, 2022’s Scoring The End Of The World bowed at #1 on the latter, in addition to securing the band’s highest position on the Billboard 200 at No. 12. The LP notably spawned their second RIAA gold-certified hit and first Active Rock No. 1, “Masterpiece”, which has leapt towards the platinum threshold. Insidious and innate versatility has enabled them to collaborate on popular tracks with everyone from Jonathan Davis of Korn and “Doom” composer Mick Gordon to Illenium and Knocked Loose.

Beyond sold-out headline tours and direct support slots for Bring Me The Horizon and Slipknot, the group hosts, curates, and headlines its own Apocalypse Fest in Scranton. Two decades into their career, these outliers prove to be as dynamic and dangerous as ever, with a slew of new releases on the horizon for Roadrunner Records. This era begins with the single “Afraid Of The Dark”, infusing tightly executed metalcore with gothic overtures, industrial grit, and an arrestingly uplifting message to “follow the light in your heart and be not afraid of the dark.”

The post MOTIONLESS IN WHITE Share Music Video For New Single “Afraid Of The Dark” appeared first on Sonic Perspectives.

A long-rumored piece of Savatage history is finally getting the full release treatment. Founding singer Jon Oliva says a live album recorded on June 29, 1990, at the Palace in Los Angeles (captured during the Gutter Ballet tour) is set to arrive “soon.”

The recording features Savatage’s touring lineup from that era: Jon Oliva on lead vocals and piano, his late brother Criss Oliva on lead guitar, Chris Caffery on guitar, Johnny Lee Middleton on bass, and Steve “Doc” Wacholz on drums.

Jon shared the update in a social media post on Monday (January 26), and he didn’t keep it vague. Here’s what he said about where things stand and why this particular night matters to him:

“The triple live album with Criss is being turned over to the record company this Monday, the 26th, and it will be coming out soon. This is live from the Palace in Los Angeles on the Gutter Ballet tour, and in my opinion, it’s one of the best shows we ever did. Criss and I were absolutely on fire that night — his playing was incredible, my singing was strong, and yeah… I was pretty funny too. We’ve remixed and mastered the entire show, and it sounds absolutely amazing. The song list is fantastic, and the energy from that night really comes through. This is truly a must-have for every real Savatage fan. I can’t wait for you all to hear it.”

If the setlist data is accurate, it’s the kind of track run that hits every corner of the early catalog and then some. According to Setlist.fm, the Palace show included:

1. City Beneath The Surface
2. White Witch
3. Of Rage And War
4. She’s In Love
5. Mentally Yours
6. 24 Hrs. Ago
7. Legions
8. Strange Wings
9. Hounds
10. Temptation Revelation
11. When The Crowds Are Gone
12. The Dungeons Are Calling
13. Holocaust
14. Sirens
15. Power Of The Night
16. Hall Of The Mountain King
17. Gutter Ballet
18. Thorazine Shuffle
19. Devastation

There’s also a connection here to a release longtime fans already know: three songs from the 1990 Palace performance previously showed up on the 1995 live album Ghost In The Ruins – A Tribute To Criss Oliva. Those were “Gutter Ballet,” “When The Crowds Are Gone,” and the instrumental “Post Script,” which was recorded during soundcheck.

If this triple live set lands the way Jon describes, properly remixed, mastered, and with the full show intact, it’s a serious archival release for anyone who holds the classic Savatage era close.

The post SAVATAGE’s 1990 “Gutter Ballet” Tour Show In LA Is Becoming A Triple Live Album, According To JON OLIVA appeared first on Sonic Perspectives.

When it comes to the type of music I like, Disket could not be much more on the money. The New York–based band has just released its first single on General Speech, and it’s the perfect mashup of old school punk and late ’70s-style power pop. The band, featuring Dani Tute on vocals backed by Mary and Claudia from Baby Shakes, Myke from Mala Vista, and Roberto from Vaxine, more than lives up to its star power promise on this red-hot double A-sider. “Running” barely exceeds the 90-second mark and will quickly have you in vigorous head-bobbing, toe-tapping mode. On the flip, the snappy “Vamos a ganar” eases off the gas pedal just a little but still packs one hell of a punch. This, my friends, is how you do it. The songwriting is aces, and both of these songs are equally parts catchy and rockin’. If you’re left wanting more, be sure to check out Disket’s demos from last summer. Hit up General Speech to pre-order the new single on black or green vinyl. This thing is going to be on everyone’s top ten list at year’s end!

The prolific AC at Bad Dog Promotions has sent me another winner. This time it’s So Many Words by Alan Morse. The newly released (22nd January 2026) solo album from the Spock’s Beard co-founder and guitarist. Now, I do like Spock’s Beard – well, up until Snow and Alan’s brother Neal left though not so […]

The post Alan Morse So Many Words Review first appeared on New Wave of British Heavy Metal.

Good Day Noir Family,
A steady pulse, almost like a racing heartbeat, sets the tone for “Eclipse” by A Thousand Reasons, and right away the track establishes a tense and forward-driven atmosphere.

Eclipse is A Thousand Reasons’ Single Out Now

 Instead of rushing toward the vocals, the band allows the rhythm to breathe. The listener is pulled into a space that feels urgent, slightly dystopian, and emotionally charged.

A long and expressive guitar solo introduces the song, and rather than acting as a simple showcase, it works as a gateway into the story that follows.

When the voice finally enters, it carries a dark and intense melodic line that feels deliberate and controlled. Moreover, the vocal delivery balances power with clarity, which helps the melody stay firmly in your mind. Although the track leans heavily on hard rock energy, there are clear vintage touches in the guitar tone and phrasing. The song feels suspended between past and future, never fully belonging to one era. That tension becomes one of its strongest qualities.

As the track develops, the rhythm grows more insistent, yet it never overwhelms the structure. Each section builds naturally on the previous one. The intensity feels earned rather than forced. The chorus arrives with an epic melodic shape. At the same time, the underlying groove keeps pushing forward, reinforcing that sense of restless momentum.

What stands out most is how “Eclipse” manages to be powerful while remaining memorable. The band avoids clutter, choosing focus over excess. In addition, the songwriting leaves room for atmosphere without sacrificing drive. This balance gives the track a distinctive identity within the hard rock spectrum.

Toward the end, the arrangement takes an unexpected yet fitting turn. The strings feels like a final gift to the listener. Rather than softening the song, they elevate it, adding a timeless and almost cinematic closing statement. The ending feels complete, as if the journey has reached its natural resolution.

“Eclipse” stands firmly in its own space, defined by intensity, melody, and a strong sense of atmosphere. It is a song that stays with you, not because it demands attention, but because it earns it.

Eclipse is A Thousand Reasons’ Single Out Now!

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Epic!

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Eclipse is A Thousand Reasons’ Single Out Now

A Thousand Reasons is a hard rock band that brings personal struggles to the forefront with insightful lyrics and dynamic genre mixing from Reading, Pennsylvania USA. The band’s music is a blend of different genres, Rock/Metal/Post-Grunge/Pop-Punk/Pop, and is characterized by insightful lyrics that touch on personal struggles

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Find A Thousand Reasons Here:

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The post Eclipse is A Thousand Reasons’ Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Cold Streets was originally published on HM Magazine by Nao Glover.

Cullen and Mason chat with all the members of Cold Streets. They chat about the band’s history, their new music, and much more. Check out Cold Streets and listen to the BlackSheep podcast on Apple Podcasts, Spotify, and Spreaker. You can also follow us on Instagram and subscribe on YouTube.

Cold Streets was originally published on HM Magazine by Nao Glover.

Florida death metal vets Obituary have locked in a March headlining run, with Castrator and Intoxicated joining as support. The nine-date trek also includes two stops where Obituary will open for Acid Bath, making those nights the obvious outliers on what’s otherwise a straight headliner schedule.

Tickets for the headlining shows go on sale this Friday, January 30, at 10:00 a.m. local time at this location. Check out the itinerary below.

03/19 – Gainesville, FL – The Wooly (no Castrator)
03/20 – Birmingham, AL – The Canteen
03/21 – Pelham, TN – The Caverns (with Acid Bath, Herakleion, and Saint Avangeline)
03/22 – Memphis, TN – 1884 Lounge
03/24 – Oklahoma City, OK – 89th Street
03/25 – Columbia, MO – The Blue Note
03/27 – Denton, TX – Rubber Gloves
03/28 – Houston, TX – White Oak Music Hall (with Acid Bath and High On Fire)
03/29 – New Orleans, LA – Tipitina’s

While the tour news is the immediate headline, drummer Donald Tardy has also been talking about what comes next for the band on the recording side. Last summer, he was asked by Bloodstock TV’s Oran O’Beirne whether Obituary were still targeting a new studio album in 2026 or 2027. His answer was cautious and very on-brand for a band that’s been doing this for decades.

“In the rock and roll industry, you make plans, and nothing ever sticks, and getting pushed back, it happens always. So I don’t wanna tell people that there’s gonna be a new album, ’cause is there? We don’t know. We’re having a damn good time. My brother [Obituary frontman John Tardy] and I are having a blast. Should there be one more record? Possibly. Possibly for the fans,” he explained (via Blabbermouth)

“Going on a 40-year career, we’re wondering, where do we go with this career of ours? And how much longer? Do we wanna do it? Can we do it? And should we? And so to answer the question, we love writing music, and we love the idea of a new album, but we will definitely take our time and write the best songs we possibly can, just like we did with Dying Of Everything,” Tardy continued.

“So ’26 and ’27 will be a writing process, and then the recording of it. So, we’re looking it as, if we’re still on this side of the ground and we could do it, there’ll be another one, simply because the fans deserve it. And we’re still having a good time doing what we do.”

The post OBITUARY Announce Headlining Dates With CASTRATOR And INTOXICATED In March appeared first on Sonic Perspectives.

Although all three of frontman Maynard James Keenan’s main projects (Tool, A Perfect Circle, and Puscifer) share several traits, they each have enough that’s unique to be distinguished and justified. In particular, Puscifer eschew some of APP’s emotional alt-rock commerciality and Tool’s progressive/psychedelic metal indulgencies in favor of exorcising Keenan’s most bizarre and boundless rock tendencies.

It’s always worked out quite well, and the aptly named Normal Isn’t (which arrives over five years after predecessor Existential Reckoning) is another fascinating testament to the wonders of his “creative subconscious.”

The same lineup from Existential Reckoning returns here, and the record is bolstered by guest appearances from Tool drummer Danny Carey, legendary bassist Tony Levin, and Ian Ross (father of Atticus Ross). The band view the album as “modern post-punk . . . with a dash of goth-tinged drama” and touches of new-wave. It’s an accurate description, and Normal Isn’t also sees Keenan incorporating music software such as Logic and Pro Tools to fine-tune his ideas.

Along the same lines, multi-instrumentalist Mat Mitchell says that the trio wanted to make Normal Isn’t more guitar-driven to achieve more “rawness and edge.” As usual, the LP also finds a solid balance between metaphysical, poetic, and sardonic lyricism as it explores the abnormality of modern times.

Right away (via opener “Thrust”), you know you’re in for a musically, vocally, and intellectually stirring ride. Off-kilter percussion and unsettlingly atmospheric instrumentation support the duality of Keenan and Carina Round’s quirky melodies. They’re an irreplaceable duo who offset playful animosity with angelic breathers, and all the while, they offer cynically contemplative observations (“Bicker bicker bicker / People getting sicker / Needle needle needle / Giggle giggle titter / Fucking agitators / Rabble goading rabble / Trying not to murder’s / Daily fucking battle”).

Afterward, Normal Isn’t constantly reinvents that foundation so that every piece of the puzzle fits without it ever sounding repetitive or lazy. Rather, there’s always something new to discover and appreciate as Puscifercontinue to innovate (rhyme not intended).

For instance, there’s the relatively radio-friendly title track and “The Quiet Parts” (both of which are cut from the same cloth as Steven Wilson’s The Future Bites and The Harmony Codex), as well as the more subdued and eerie electronic bases of “Bad Wolf,” “ImpetuoUs” and “Pendulum.” Plus, the group get really experimental with the intersecting vocals, hyperactive industrial textures, and clever production of “Self Evident,” “Mantastic,” and the especially cinematic and complex “Seven One.”

Despite not being a formal part of the album (it was originally released in 2024 as part of the soundtrack to Sumerian Comics’ American Psycho comic book series), “The Algorithm (Sessanta Live Mix)” is a welcomed way to end. The band clearly brings invigorating live energy to this version of the track, showcasing their ability to be even more exhilarating on stage, and hearing the crowd cheer enhances the experience.

As with pretty much everything Keenan puts out, Normal Isn’t is wonderfully entertaining, ambitious, and thought-provoking. Specifically, it illuminates Puscifer’s sustained drive to present something that’s simultaneously mature and meaningful yet fun and unpredictable musically and academically. Keenan and Round’s chemistry continues to be the trio’s greatest asset (which isn’t to say that their other components aren’t great, too), and expectedly, it rewards repeated listens. Whether it surpasses its predecessor(s) is obviously a subjective opinion, but its heightened aggression and focus surely make it a distinctive but fitting addition to Puscifer’s catalog.

Release Date: February 6th, 2026
Record Label: Recordings / BMG
Genre: Experimental Rock / Art Rock

Musicians:

• Maynard James Keenan / Vocals, additional synths
• Carina Round / Vocals, vocal sampling, additional synths
• Mat Mitchell / Bass, guitar, synths, stick

Additional Musicians:

• Gunnar Olsen / Drums
• Sarah Jones / Drums
• Greg Edward / Bass

Guest Musicians:

• Tony Levin / Additional bass on “Normal Isn’t” and bass on “Seven One”
• Danny Carey / Drums on “Seven One”
• Mr. Ian Ross / Narration on “Seven One”

Normal Isn’t Tracklist:

1. Thrust
2. Normal Isn’t
3. Bad Wolf
4. Self Evident
5. A Public Stoning
6. The Quiet Parts
7. Mantastic
8. Pendulum
9. ImpetuoUs
10. Seven One
11. The Algorithm (Sessanta Live Mix)

Order the album here

The post PUSCIFER – Normal Isn’t (Album Review) appeared first on Sonic Perspectives.

Review & Photos by Jordan West

Guitarist Billy Gibbons and the BFG Band made a stop in Anaheim and gave the crowd a taste of what it is like when a legend comes out to jam. Gibbons, the long-time leader of “That lil’ol’band from Texas” ZZ Top, has been touring with this particular trio — bassist Mike “The Drifter” Flanigin and drummer Chris “Whipper” Layton, both members of his Texas-based side project The Jungle Show, which also included guitarist Jimmie Vaughan.

The crowd was alive and in great anticipation, many of them members of the music industry, as the 2026 NAMM Convention had just wrapped up, and, as an attendee, I noticed many audience members who had been in the halls of the Anaheim Convention Center all weekend.

Right on time, at 8:00 sharp and without an opening act, Gibbons and the BFG Band hit the stage — looking like “sharp- dressed men” in their matching rhinestone-enhanced suits made by the legendary Beverly Hills suit-maker Nudie, matching flower-design guitars, with various skateboards strewn around — and launched into the classic ZZ Top blues number “Waitin’ For the Bus” and, just like on the 1973 Tres Hombres release, segued into the slow, grinding blues number “Jesus Just Left Chicago.” This set the pace for the upcoming 19-song set. Just some inspiring, biting, blues played by a trio of Texans who play the blues the way they were intended to be played.

Gibbons has always had his own sound, and for years so many have tried to replicate it. Most have failed. I noticed that Gibbons’ guitar, as well as Flanigin’s, were plugged directly into a backline of Magnatone amplifiers, which are famous for their rich, full tones. And that they were, all evening long. That sweet sound that so many guitar players have salivated over was evident during a cool cover of Slim Harpo’s classic “I Got Love If You Want It,” followed by ZZ Top’s pleading “Blue Jean Blues” that brought out a huge applause from the crowd.

Gibbons paused to address the crowd and spoke about his time with his late 1960s band The Moving Sidewalks and his experience opening for the Jimi Hendrix Experience. He said they played two of Hendrix’s songs during their set, and when he came offstage, Hendrix grabbed him by the shoulders and said, “I like you. You got a lot of nerve.” Tonight, Gibbons smiled and then he and the band played a bang-up version of Hendrix’s “Foxy Lady” with Flanigin playing organ instead of bass guitar. He excels at both.

The BFG Band then tore into the early ZZ Top catalog, starting with 1972’s rocking “Francine,” which Gibbons explained he had to change the words from “My Francine just turned 13, she’s my angelic teenage queen” to “18” for obvious reasons. Drummer Chris Layton, who previously manned the drums for the late Stevie Ray Vaughan and Kenny Wayne Shepherd, among others, is a “drummer’s drummer.” He uses his wrists more than pure power, and his accents and cymbal control keep him, as we drummers like to say, “in the pocket” at all times. His contributions to early ZZ Top classics that followed — “Just Got Paid,” the wonderful “Precious and Grace,” and the rocker “Beer Drinkers and Hell Raisers” — brought out the best in Gibbons and Flanigin, without deviating too much from the original recorded versions. The sign of a true pro.

This was especially evident during “Nasty Dogs and Funky Kings” with its stops and starts and various accents, all the while letting Gibbons fly. He absolutely BLAZED across his fingerboard during this number. It was a true band-jam and a highlight for me and all others in attendance to witness.

“Let’s lock the doors up and keep playing,” Gibbons excitedly said more than once during the evening. Sporting a white Stetson hat over his trademark green Bamileke beanie, I almost expected them to fly off his head at any time. The playing was that firey! “Sharp Dressed Man,” probably ZZ Top’s most popular latter-career hits, was performed almost as a must before Gibbons and company went back to ZZ Top’s first album for the rocking blues of “Brown Sugar.”

Gibbons playfully teased the audience with a snippet of “Mexican Blackbird” before Layton played the familiar opening rim-rolls that led to the set-ending, groove of the ZZ Top classic, “La Grange.” As many times I have heard (and played…) this song, it never gets old. Tonight, the BFG band put in some spice by taking it to new heights but keeping it low to the ground. This number is, to me, the quintessential Gibbons and ZZ Top sound. The Magnatone amps shook, as Gibbons and company rocked them in ways that only a true master can. As I looked around, as the song finished, it was all smiles from band and audience alike.

A standing ovation from the crowd brought the band back to finish the show with an inspired, and fun Texas-styled shuffle of “Thunderbird.” The chorus of “Get high, everybody get high” was shouted along by all, and my feet were stomping the floor like it was a Texas roadhouse filled with peanut shells.

Layton came out from behind his Mexican blanket and Sombrero-adorned drum kit, and the band smiled and bowed for their adoring audience. It was a truly inspired performance from three pros, the perfect cap to an outstanding NAMM convention weekend that provided a great vibe and a mutual love of live music and all that it brings.

Billy Gibbons and the BFG band will be performing at various cities this year. Do yourself and see this master and his combo perform songs that are as deep and huge as the heart of Texas. My thanks to those that made it possible for me to attend.