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Forty years in the life of a rock band is no longer merely an anniversary — it is something of historical proportions. In the case of Ossian, this is especially true: generations have grown up with Endre Paksi’s lyrics, while concerts, albums, eras and fan stories have built upon one another, as the band has […]

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Albion, the band fronted by former Jethro Tull guitarist Joe Parrish-James, return with their second album which is titled It Was in the Month of May. This being the follow-up to their impressive debut album of Lakesongs of Elbid from 2024. Whereas that debut had a heavier prog/folk/metal edge to it, here on It Was […]

The post Albion: It Was In The Month of May Review first appeared on New Wave of British Heavy Metal.

Denmark’s rising AOR contenders Boys From Heaven return with their third studio album The Wanderer, landing May 22, 2026 via Frontiers Music, marking their debut for the label, The album finds the band doubling down on their signature blend of glossy ’80s AOR nostalgia and modern melodic rock finesse. Produced by frontman Chris Catton and polished by Erik Martensson, expectations are understandably high as I’ve loved all of their previous outings. But from the first spin, The Wanderer makes it clear this is a band hitting their stride.

From the opening moments, The Wanderer leans hard into that synth-driven AOR sweet spot—lush keys, soaring hooks, and a cinematic sense of scale. There’s an unmistakable nod to the genre’s golden era, with echoes of Toto and the L.A. soft rock scene woven into a distinctly Scandinavian melodic sensibility. The production is pristine too, giving every sax flourish and layered harmony room to breathe. But it’s in the songs themselves where the album really lives or dies—and thankfully, there’s plenty here to love.

Lead single ‘I’ll Wait’ sets the tone perfectly, delivering that “power-montage” energy the band themselves alluded to. it’s an interesting song to choose as a lead single simply because there’s so much more I love here. It’s a little understated, as are a lot of the songs here, but that is of course part of the charm.  It’s the kind of opener that grabs attention immediately and refuses to let go and sounds absolutely vintage in a good way. It’s also the longest track on display here.

Follow it up with the more soulful 80’s AOR Radio flavoured ‘Hotline’ and the even nimbler ‘Hold Your Heart’, and you get the feeling that this is going to prove a worthy successor to ‘The Great Discovery’ and ‘The Descendent’. It’s all here in the first few songs: the familiar pacing, the hooks, the wonderful mix all helping to establish the album’s DNA early on.

As the album settles in, with shorter tracks like ‘Street Life’ and ‘Say Goodbye’ (the two briefest here) you realise that almost anything here could have led as a single. I actually prefer this pair – the funkier ‘Street Life’ especially. There’s a confidence in the songwriting here that suggests a band comfortable in without complacency stepping in. ‘How Long’ has a nice bit of weight to it with the opening bust of guitar and sounds more urgent (I love it) and ‘Eileen’ brings with it a funky feel and Pop sensibility that could be the completely legitimate offspring of Lionel Ritchie and early Hall & Oates.

Heading into the final run, ‘I Will Never Let You Down’ is another highlight with Chris Catton sounding at his very best, it’s another more urgent song and that light edge elevates things wonderfully. Conversely ‘Time Is On Our Side’ takes a more AOR less West Coast route with the guitars a little sharper and the melodies a little more urgent. By the time we reach ‘Till The Bitter End’, you’ll be in a peaceful place. That’s the beauty of this band, they sail you away to a brighter, better place. Rounding things out on a high with a more traditional ballad there’s a nice build, wonderful guitars and some lush melodies. It’s still one of my favourites many plays in.

Performance-wise, Chris Catton’s vocals are sublime, while the band as a whole delivers a tight, cohesive performance throughout. The addition of saxophone brings a rich, textural layer that lifts the album above standard AOR fare, and teh West-Coast vibe sets them apart. Martensson’s mix ensures everything lands exactly where it should it’s wonderfully clean, deceptively powerful, and polished just right. The Wanderer is another confident, statement from a band clearly on the rise, and whether you’re here for the nostalgia or the craft, Boys From Heaven deliver an album that feels timeless.

 The band stated: “Recording the last record ourselves and having Erik Martensson take care of mixing and mastering was a winning combination, so we had no doubt that we wanted to do the same thing with “The Wanderer”.

“With the new album we’ve leaned even harder into that 1980’s synthesizer-driven power rock sound, and our fans can definitely look forward to an album which is high-energy right from the first chord is struck, all the way to when the last note has rung out”, they added. “We can’t wait to share it with you all!”

With special guest contributions from Lucas Szczyrbak (bass) and Michael Catton (background vocals), the album is a true ensemble effort, executed with taste, precision, and emotion. From the first track to the last, the band demonstrates their deep respect for the genre’s legacy while injecting it with rich textures, impeccable songwriting, and a clarity of vision that’s rare in modern melodic rock. 

Three albums and three absolute gems!

9/10

 

“The Wanderer” Tracklist: 1.  I’ll Wait | 2.  Hotline | 3.  Hold Your Heart | 4.  Street Life | 5.  Say Goodbye | 6.  How Long | 7.  Eileen | 8.  I Will Never Let You Down | 9.  Time Is On Our Side | 10.  Till The Bitter End

Line Up: Chris Catton – Lead vocals | Jonas Klintström Larsen – Saxophone | Mads Noyé – Keyboards | Mads Schaumann – Guitar and backing vocals | Søren Viig Mathiesen – Drums

The post ALBUM REVIEW: BOYS FROM HEAVEN – The Wanderer appeared first on The Rockpit.

Posted on April 29th 2026, 11:01a.m.

Haste the Day was originally published on HM Magazine by Nao Glover.

In 2023, Haste the Day took the stage at Furnace Fest without expectations. What they gave was an epic performance many felt lucky to experience again, and what they received in return was more than a warm welcome home from their fans. It was also a reminder of what their music and their brotherhood meant […]

Haste the Day was originally published on HM Magazine by Nao Glover.

Our Complete List Of Duran Duran Songs From A to Z includes all the songs from a band formed in 1978 around keyboardist Nick Rhodes, John Taylor, and singer and bassist Stephen Duffy, who took their name from Dr. Durand Durand, the character from the 1968 science fiction film Barbarella. The early lineup changed quickly, with Duffy and Simon Colley leaving in 1979, Roger Taylor joining on drums, John Taylor moving to bass, and the group finding its first real home as the resident band at the Rum Runner nightclub in Birmingham. That club became more than a venue; it was

The post Complete List Of Duran Duran Songs From A to Z appeared first on ClassicRockHistory.com.

[Cover art by Jef Whitehead]

Cognizance’s In Light, No Shape serves as a useful reminder that when it comes to our musical preferences, our whats are subservient to our whys. If, for example, you are a fan of the early ‘90s wave of technical death metal forefronted by bands like Death, Atheist and Cynic because you favored the guitar-forward production, catchy riffs and refined melodic sensibility, then the Leeds, U.K.’s fourth full-length might be right up your alley. However, if that particular clutch of bands caught your ear simply because they were offering some of the most innovative and technically accomplished metal on the market at the time–because they were something new– then I’m not sure Cognizance’s latest will scratch your itchy parts.

For those in the former group, let me steer you to a track like “Vertical Illusion,” which commences in media res before deploying a set of riffs that succeed on the strength of their trickiness and musicality as opposed to sheer heft. The one that begins at about 1:22 chops n’ thrashes its way around a scale run while additional guitars add some harmonic flavor you’ll begin to taste when you go back for seconds. Hot dog, we get ourselves another wiener at 1:11 of “Witness Marks,” where again the guitars and syncopated drums get their hooks in despite the riff sounding like it’s accomplished by solving a Rubik’s Cube with one hand and screwing in a light bulb with the other.

At 1:52 of closing track “The Zone,” twin guitars harmonize legato riffs over a splashy but not overly flashy odd-meter rhythm laid down by polymelian skins-man David Diepold. Once you meet In Light, No Shape where it’s at, it’s hard to stop noticing all the exceptionally neat and well-executed musical moments it has to offer.

But, what of the latter group? Those who, yes, have made knowing and loving music the very essence of their existence, but are also in search of something novel. Perhaps they heard it on Unquestionable Presence, and so simply won’t hear it here. In 2026, their pleasure center can only be accessed by the sound of flash-frozen rotisserie chickens being fed into a high-efficiency toilet with a flusher that activates a rusty garbage disposal attachment. It’s up for debate as to whether this particular album of complex but easily discernible riffs, drum patterns, and vocal lines is too complex or not complex enough for that crowd, but in the final estimation, it is probably not enough for that kind of mind. And, full disclosure, I can feel where they’re coming from. Despite its many merits, In Light, No Shape’s narrow dynamic range and predictable pacing do have a tendency to fade into background noise. This may be because, while no doubt a challenging album to compose and perform for the band, this style of moderately tempered technical death metal doesn’t really pose any serious challenges to the listener.

I ultimately stand somewhere between these two groups. As much as I seek to have my breath taken away by metal’s unique capacity to repulse, terrify and scandalize, I’m also a bit of a dork who likes when bass, drums and guitars do cool stuff. Cool stuff indeed abounds here. Up top, we discussed what we like and why we like what we like. So I think now it’s appropriate to mention our hows – if yours revolve around seeking the initial rush of exhilaration that attends setting foot on uncharted territory, then you’ll find little respite here, weary traveler. But if you’re the type to set aside some attentive time for new dogs doing some old tricks well, then this might be a place to stop and rest a while.

The post Cognizance – In Light, No Shape Review appeared first on Last Rites.

The post Photo Gallery: SEVENDUST Live at House of Blues in Dallas, TX on Tuesday, April 28th, 2026 appeared first on INFRARED MAGAZINE.

“Suspended In Torture”, the fourth single from Abuser‘s oncoming debut long player Blood Marks, has premiered online in the form of an official music video. Check it out.
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Portland, Oregon-based ensemble Dying Wish have confirmed a string of headline shows in US for the upcoming summer. On select dates they will be supported by Guilt Trip, Holder, Contention, Surfaced.
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