The post Dan Dalrymple Closing Time Review appeared first on Edgar Allan Poets – Noir Rock Band.

The post Roan Grevel Anna Review appeared first on Edgar Allan Poets – Noir Rock Band.

Photo credit: Damu Malik After two decades of nearly continuous touring, folk-Americana singer-songwriter Eilen Jewell is stepping away from the road—not as an ending, she insists, but as a recalibration. Her “indefinite hiatus” from touring marks a deliberate pause in a life shaped by motion, performance, and the steady accumulation of miles across continents. Yet […]

Buried in the fall.

The post Thousand Below Tap Acres, VCTMS & Lost In Separation For Fall U.S. Headlining Tour appeared first on Theprp.com.

With EKOH, Oxymorrons and more.

The post Magnolia Park Announce Their First-Ever ‘Halloween Fest’ appeared first on Theprp.com.

Talking of THE ROLLING STONES, most people see the Glimmer Twins as the ultimate rockers, while in fact it was Bill Wyman who seemed the most solid performer in that regard, what with him being older than the rest of … Continue reading →

The post The Whole Oeuvre Of Bill Wyman’s RHYTHM KINGS Will See Definitive Repackaging appeared first on DMME.net.

Eyes up.

The post Brand Of Sacrifice Look To Be Teasing Their Third Album appeared first on Theprp.com.

There are guitarists who play the blues, and then there are guitarists who seem to channel it from somewhere deep within themselves. Philip Sayce belongs firmly in the latter category. Returning to London for a highly anticipated appearance at Islington Assembly Hall on 3 June, the Welsh-born, Canadian-raised guitarist delivered a performance that was equal parts masterclass, catharsis, and celebration of the enduring power of blues-rock.

The elegant surroundings of Islington Assembly Hall provided the perfect backdrop for an evening rooted in tradition yet infused with modern energy. The venue was packed with devoted fans, guitar enthusiasts and curious newcomers, all eager to witness one of the most electrifying performers on the contemporary blues scene. With its balance of grandeur and intimacy, the historic hall offered an ideal setting for a musician whose reputation has been built on emotional intensity rather than theatrical spectacle.

From the moment Sayce walked on stage, there was an unmistakable sense of anticipation in the room. Opening with a burst of shred energy before asking the crowd a simple question – “Ready?” – he immediately launched into “Out of My Mind.” It was a statement of intent. His guitar tone was instantly recognisable: rich, saturated, and gloriously dynamic. Whether unleashing fiery lead lines or delicately teasing out soulful melodies, he demonstrated complete command of his instrument.

Yet what separates Sayce from many modern guitar heroes is his refusal to treat the guitar as a vehicle for technical exhibitionism. Plenty of musicians can play fast or loud. Sayce’s gift lies in his ability to make every note feel emotionally charged and purposeful. Throughout the evening, his playing moved effortlessly between blistering blues-rock, psychedelic textures, and moments of deep introspection. The influence of Jimi Hendrix, Stevie Ray Vaughan, and Robin Trower could certainly be heard, but Sayce has long since developed a voice that is unmistakably his own.

Material from across his catalogue showcased both his musicianship and increasingly assured songwriting. Tracks such as “Standing around crying” and “Morning Star” balanced muscular riffs with memorable melodies, while heavier numbers provided opportunities for extended improvisation. These moments allowed Sayce to stretch out creatively, exploring the sonic possibilities of his instrument while never losing sight of the song itself.

His vocals deserve equal recognition. Often overshadowed by his formidable guitar playing, Sayce possesses a raw, expressive voice perfectly suited to his material. There is a grit and authenticity to his singing that complements the emotional intensity of his guitar work. Every lyric felt delivered with conviction, lending weight to songs dealing with struggle, redemption, and resilience.

A major strength of the evening was the chemistry between Sayce and his band. The rhythm section provided a powerful yet sensitive foundation, allowing him the freedom to roam without sacrificing groove or cohesion. Several extended jams showcased the group’s ability to listen and respond to one another in real time, creating moments that felt spontaneous and unique to that particular night.

One of the evening’s highlights came during an extended instrumental passage during ‘Steamroller/Love is a powerful thing’. Beginning with a sparse guitar introduction, the piece gradually built in intensity until Sayce appeared completely immersed in the music. Notes bent and sustained beyond their expected limits, while controlled feedback became a creative tool rather than a by-product of volume. These sections demonstrated why he continues to attract such admiration from fellow musicians. His solos were never simply displays of virtuosity; they told stories, building tension and release with remarkable instinct.

The crowd’s response reflected the quality of the performance. Cheers erupted after nearly every solo, and the atmosphere became increasingly enthusiastic as the evening progressed. Yet despite the admiration directed towards him, Sayce remained approachable and humble throughout. His interactions with the audience were warm and genuine, reinforcing the feeling that this was a shared experience rather than a one-sided performance.

As the set drew towards its conclusion, there was a palpable reluctance among the crowd to let the evening end. The eventual encore, featuring a guest appearance from Tom Moriarty, provided one final opportunity for Sayce to demonstrate why he remains one of the most compelling live performers working today. The closing performance was delivered with the same intensity and commitment that had characterised the entire evening, leaving the audience exhilarated and wanting more.

In a musical landscape increasingly dominated by technology and spectacle, Philip Sayce remains refreshingly rooted in the fundamentals of great live performance: exceptional musicianship, emotional honesty, and genuine connection with an audience. His appearance at Islington Assembly Hall was far more than a guitar showcase. It was a reminder of what live music can achieve when passion, skill and authenticity align. For those fortunate enough to be present, it was an evening that reaffirmed the enduring power of the blues and the extraordinary talent of one of its finest modern exponents.

View the full photo gallery below.

[See image gallery at bluesrockreview.com]

The post Philip Sayce ignites Islington Assembly Hall with a masterclass in blue rock power appeared first on Blues Rock Review.

Norwegian progressive death metal band Tessia released their new album, The Cataclysm, last May. We spoke with vocalist Julie Berthelsen about her personal reflections on the record, the lore driving its universe, the realities of balancing music with modern industry demands, and her thoughts on the representation of women in the metal scene.

Check out our review of The Cataclysm.

Reuel

Hello, Julie! I’m so happy to chat with you. How are you doing?

Julie Berthelsen

Hello! I’m fine, thanks, happy to be here 🙂

Reuel

Congratulations on releasing The Cataclysm last month! What does this album mean to you personally?

Julie Berthelsen

Thank you! This album has been in the works for several years now, and it means so so much to me. I pour my heart out with lyrics and storytelling and have explored my voice and reached many new milestones along the way. Dennis (our guitarist/producer) has created this big universe in which the journey of ‘The Cataclysm’ takes you through, and it’s so exciting and vast, I love being able to tell the story to people.

Reuel

How do you feel about the way it was received by your fans and by the public?

Julie Berthelsen

Absolutely blown away, the response has been amazing. People really seem to like the heavier direction we have gone for. It has gained us many gigs both nationwide and internationally, and of course, the big win for Wacken Metal Battle Norway.

Reuel

Could you share a brief synopsis of the universe you built for The Cataclysm and your previous releases?

Julie Berthelsen

As mentioned earlier, Dennis created this major universe in which we explore. To sum it up as short as possible, it’s mainly about two sides of a story, there is the story of two ethereal/godlike entities, clashing together, and the cause and effect of that conflict, and the consequences on both a grand universe scale but also on a minor scale for humans facing struggles in their daily lives. And not to spoil the story, but the album title is a hint as to what happens 😉

Reuel

How would you describe Tessia’s sound using emojis?

Julie Berthelsen

🔥😡🩸😇😈

Reuel

In an alternate reality where music is tasted, just like food, what would Tessia’s music taste like?

Julie Berthelsen

Like something very tasty but spicy, exploding flavours in your mouth so hot you can barely hold it together, but then you have a sip of milk or cream that relieves you, and you get a break haha xD

Reuel

Releasing an album today requires an artist to juggle music, marketing, and social media. Looking at the process as a whole, what is your favorite and least favorite aspect?

Julie Berthelsen

Yeah that’s very true, like you say, you have to be an influencer, PR manager, booking agent, producer, visual designer, video director, and then at last you get to create a little bit of music haha. I guess that’s my least favourite part, I wish it were the other way around. My favourite part is getting a “hands-on” approach with fans and people who interact with us on social media. I get to talk to a lot of people and respond to people’s kind messages, if we had a social media person, I wouldn’t get to be as much part of it, I guess.

Reuel

What are your thoughts on how women are represented in music today, and what do you think can be done to promote more inclusivity and support for female musicians?

Julie Berthelsen

Well, we have come a long way in the metal since just 10-20 years ago. There is a lot more female representation in the genre now than there was before. But we still need a lot more, absolutely. There is still a lot of stigma around a woman growling for example, which I think is absolutely ridiculous. I think increased inclusivity can be promoted by giving women equal opportunities, recognizing their contributions and engaging with their work. Supporting each other is important and not only as performers but also as producers and industry professionals, which helps create a stronger and more diverse music scene overall.

Reuel

Thank you for your time, Julie!

The post Interview | “I pour my heart out with lyrics and storytelling” – Julie Berthelsen from Tessia first appeared on FemMetal – Goddesses of Metal.

Finnish hard rock outfit Lobster have officially released a high-octane reinterpretation of Don Henley’s iconic 1980s classic, “The Boys of Summer”. The release follows fast on the heels of their April comeback single, “Baby I’m Yours Tonight”, which marked the band’s return to active duty after a three-year hiatus away from the studio circuit. The … Continue reading Classic Cover: Lobster – “The Boys of Summer” (original by Don Henley)