Record-breaking, platinum-selling rock band The Pretty Reckless have released “About You,” (Bonus Version) originally featured on the band’s fifth studio album, Dear God. The new version features Foo Fighters’ Dave Grohl on drums, guitar, and backing vocals, alongside Pat Smear on guitar.
Taylor Momsen says of the collaboration, “‘About You’ is one of my favorite songs on the record, so I wanted to do something special. I called Dave and Pat and asked them if they’d lend their magic to it. It was an amazing time in the studio making music, there’s nothing better than jamming with friends. I couldn’t be happier with the result.”
The release follows a landmark campaign for Dear God, one of the defining rock records of 2026. “When I Wake Up” extended The Pretty Reckless’ record-breaking streak with the band’s ninth No. 1 on Billboard’s Mainstream Rock Airplay chart, the most by any female-led act in the chart’s history. Produced by Taylor Momsen, Ben Phillips, and Jonathan Wyman, their fifth studio album finds The Pretty Reckless embracing vulnerability, intensity, and creative freedom, delivering one of the band’s most unfiltered releases to date.
Following the completion of the North American leg of their headlining Dear God Tour and wrapping up the AC/DC Power Up Tour after almost 3 years on the road with the rock legends, The Pretty Reckless recently performed at the Grammy Museum, offering fans an intimate look at their music and creative process. Momsen also reunited with Soundgarden at the Seattle Seahawks’ season opener last month, joining the legendary rock band for a special performance.
Additionally, the lead singer joined Matt Cameron, Mike McCready, Tom Morello, and RobbieMangano for a Soundgarden tribute at this year’s Power to the People Festival. The band are currently preparing to hit the road again for the European leg of the Dear God Tour. Routing can be found below and tickets are available here.
Dear God Tour Headline Routing:
EU/UK: Mon, Nov 9th – La Riviera, Madrid, ES Tue, Nov 10th – Razzmatazz, Barcelona, ES Sat, Nov 14th – Fabrique, Milan, IT Mon, Nov 16th – Forum Karlín, Prague, CZ Wed, Nov 18th – Huxleys Neue Welt, Berlin, DE Sat, Nov 21st – Carlswerk Victoria, Cologne, DE Mon, Nov 23rd – AFAS Live, Amsterdam, NL Tue, Nov 24th – Zénith, Paris, FR Thu, Nov 26th – The Prospect Building, Bristol, UK Fri, Nov 27th – Civic Hall, Wolverhampton, UK Sun, Nov 29th – O2 Victoria Warehouse, Manchester, UK Tue, Dec 1st – O2 Academy Brixton, London, UK Thu, Dec 3rd – Barrowland, Glasgow, UK
Of all the elder statesmen of death metal, Morbid Angel was a band I never really understood. Sure, I’d heard Altars of Madness, but my fresh ears were put off by its thin production when more thickly bludgeoning was to be had. The more immediate violence of bands like Cannibal Corpse and the unearthly foulness of Demilich and seepage of Autopsy ensnared my growing tastes, and each return to Morbid Angel left me feeling cold and empty. One day, everything changed when I encountered the subject of today’s retrospective in a record store, adorned in what I still consider some of Dan Seagrave’s most entrancing artwork. It was the artwork that made the difference, and on impulse I purchased the CD, only to spend the drive home with it, having my gateways opened in a manner that ensured they could never be closed again.
While I’ve since come around to the band’s older works, Gateways to Annihilation still represents the apex of the Morbid Angel sound. Steve Tucker’s vocals took on much more personality than his more neutral, gravely sounds on Formulas Fatal to the Flesh, with a much more confident, bestial roar. The eternal avalanche of Pete Sandoval’s drumming was given proper thunder, bringing weight to the sludgy, psychedelic dirges of “To the Victor, the Spoils”, to say nothing of the street-certified death classic that is “Summoning Redemption”. Taking the spirit of the crawl found within Blessed are the Sick and running it through a much trippier lens gives Gateways as radiant an individual identity as any in the Morbid Angel canon, and the power of the production is chief among its traits.
From a songwriting perspective, Gateways to Annihilation manages a difficult fusion of speeds, at once sounding doomy and menacing without ever slouching on its actual BPM and deathly ferocity. “Ageless, Still I Am” pulls an earworm of a lurching chorus and one of Trey’s most triumphant leads, while “Opening of the Gates” features one of Steve’s most “shout-along” verses he’s yet penned. “God of the Forsaken” returns to a taste of the Altars assault, and everywhere you turn speed is fused with menace and pacing in a manner which illustrates all the comparisons in the band’s history to lava. Speaking of lava, Trey’s solos take on a unique flavor, even by his standards, using prolonged notes and string bends as much as raw shredding virtuosity. His extended run across “Secured Limitations” should have been a setlist staple a long time ago, and curious listeners trying to understand how the idea of psychedelic sludge can work in death metal should start here for an illustration. His solos always manage to elevate the music, rather than distract by virtue of their “look how fast I can play” skill, and here they reach new atmospheric heights as they shift with impeccable seamlessness into piercing high-range scales and anguished tones, somehow hypnotic in their beauty without ever touching on anything approaching common, sing-along melodies.
This paradoxical nature is what grants Gatewaysto Annihilation its contender status as one of Morbid Angel’s best works. While the Vincent era albums each had an equally firm mission statement, those statements were clear and simple, from the riff fest of Covenant to the grinding bounce of Domination. But Gateways to Annihilation finds its identity in the flawless fusion of its disparaging elements, rather than merely shifting focus on each one in turn. Plenty of death-doom hybrids exist, but Gateways defies this label while drawing heavily from these ingredients in equal measure. It’s objectively one of the slowest albums in the Morbid Angel canon, challenged (and arguably usurped) only by Blessed are the Sick, but you’d be looked at curiously if you called it a doom-adjacent album. The melodies come forth with piss and vinegar, but never descend into a wankfest of finger flexing. The drums blast away with uncompromising brutality, but their weight and might only make the slower portions crawl and ooze that much more powerfully. This auditory alchemy is enthralling, wielding the headbangable and the stargazing in equal measure, and each new listen reveals some new nuance or detail, letting songs unveil themselves to you for the first time all over again.
Over the years since I first heard it, Gateways to Annihilation has cemented itself as one of my favorite death records of all time. From the opening croaking of the frogs in “Kawazu” that triggers my homesickness for Florida, it captivates and brutalizes with an even touch. I owe this album to finally solving the mystery of Morbid Angel and ultimately catapulting them to one of my favorite founding fathers of the genre. But though I’ve learned to appreciate the gourmet buffet riffing of Covenant, basked in the otherworldly atmospheres of Formulas Fatal to the Flesh, and enjoyed deeply of the alien soloing of Altars of Madness, none of them come close to capturing the mood and presence this album creates. If you haven’t listened to it in a while, celebrate its upcoming 26th birthday and give it a spin. You never know what might be waiting for you, just beyond the gates…
Now their gazing eyes have turned… Turned to see us laughing…
Great to see another sold out Big Ginger Tom Music promoted gig at Harwell Village Hall. Proof that you can still keep the grassroots scene going, although it is getting harder and harder to maintain. Roswell Road, ta duo consisting … Continue reading →
Day one left me feeling every bit of my age. I woke up drained and devoid of spoons, lacking the will to leave the house. Inertia was my enemy; I was unsure I had the fuel to complete another day of the festival, let alone two. The fear of failure became somewhat self-fulfilling. I missed several bands because of task paralysis induced by anxiety that I would crap out and be unable to cover the end of the fest. A younger me would have had enough drive and curiosity to depart without trouble. However today, after an unfortunately long inner battle, it was only my sense of duty to Dying Scene that finally prevailed, enabling me to put on pants and call a Lyft to Douglass Park.
I had every intention of arriving in time for Melt-Banana; they were a regular on my portable music player circa 2005. It’s been a long time since I’ve listened to them, but I distinctly remember the spastic, hyperactive vocal style. I was never able to see them live back in the day—a tradition I shamefully carried on to the present by not leaving on time. The list isn’t over yet; Angine de Poitrine blew past too. I discovered them earlier this year when I bought into Rick Beato’s clickbait YouTube title, “Please STOP sending me this,” where he finally gives in to the viewers flooding his inbox asking for his take on the band. I think they’re fascinating, and it brings me joy that a band is doing something so weird and different—so different and weird—something borderline unmusical, but they are still getting mainstream attention for it. I have not developed a taste for the microtonal nature of their songs yet, but I listen to a lot of music now that I didn’t understand how to appreciate earlier in life, so we’ll see where it goes.
At least I left in time to catch Thrice. Well, some of Thrice. At least I thought I would make it to the end of their set. Travel times were longer than estimated and I did not see any of their set. I had forgotten Thrice existed for the better part of two decades, but their newer songs have been popping up in my recommended streaming lists and they’ve caught my ear. I’m, like, really bad at this; maybe I’ll have better luck next time they come through Chicago.
I FINALLY made it through the gates and onto the festival grounds in time for Social Distortion. I vividly remember “I Was Wrong” playing in heavy rotation around ‘97 on Q101, Chicago’s legendary local alternative rock station. Despite loving the track, I didn’t deeply explore their catalog until years later. It contains no shortage of fantastic songs. White Light, White Heat, White Trash is a timeless punk treasure that deserves to be played in its entirety. That being said, I held modest expectations for the performance this year. The first time I saw Social D was long enough ago that I don’t remember any details, except that it was great and I was incredibly excited to see them again. However, the second and most recent time I saw them—which, to be fair, was 20 years ago—I left the venue relatively underwhelmed. They played the songs tightly without mistakes, but every song just felt like it was dragging. The tempos fell noticeably shy of what I remembered from the albums. Maybe their drummer just needed some uppers that night and couldn’t get any, or maybe my internal clock just set me up with unrealistic expectations. My perception could have been the problem, not their performance; they are professionals after all.
Regardless, I did not leave underwhelmed this time—the boys were kicking ass and taking names. The band was mostly dressed to impress with expensive-looking pants and dress shirts that were still tailored and worn with a punk rock edge. The beautiful, classy vintage Gibson guitars completed the look, however the drummer’s LA Dodgers hat felt like he thought it was casual Friday. Their set was tight, punchy, and full of energy. The performance was strong right from the start with “Born to Kill,” and “Mommy’s Little Monster” gave me a lovely nostalgia dose. I left early so I could see some of the Descendents, but I left pleasantly satisfied.
I honestly haven’t listened to the Descendents much since my formative punk years. Back in my day, we couldn’t see the Descendents in concert because they were broken up. All we had was ALL, and we had to make do with it. I remember seeing them at the House of Blues before I was old enough to drive. They sounded great and all, but comparatively, while the bands hold a similar sound and attitude, the Descendents just have better songs. Or maybe they’re just more memorable. Or maybe I just remember them better because that CD was in my car and got played more often. I guess I can’t make an objective comparison here, but subjectively, I have to say I enjoyed the Descendents in 2026 more than I enjoyed ALL in ’98. Noteworthy moment: the brief guitar solo in “Dog House.” It started out with a quick shred, then got loose and noodly as he searched for notes he didn’t quite find, and ended with a sharply dissonant melodic phrase that was almost atonal. I don’t remember the album version enough to know if that was intentional or a cover-up, but it was awesome and made me smile either way.
I was ahead of schedule when I went to the Radical stage to get ready for Chat Pile, which proved serendipitous, as Vana was playing and they were awesome. I’m getting kind of sick of modern metal songwriting—I find the majority of it displeasingly homogeneous—but I found myself really liking Vana’s songs. The riffs and progressions are catchy, not just technical. There’s a decent smear of electronic elements in the songs and even some hip-hop-ish parts for breaks and transitions. The frontwoman was straight-up dripping with stage presence and raw energy. She wasn’t afraid to dance while pacing around the stage like a caged animal, supporting her lyrics with both facial expression and body language. I am a sucker for the singing of a clean, melodic female voice mixed with anguished screaming passages, especially when it’s one person doing both parts. She pulled that style off beautifully. Their music carried serious production value for a band playing this early on one of the smaller stages. I’m generally not a fan of backing tracks, but I felt these were tasteful and created an atmosphere that four musicians alone could not make on one stage, blending well with the rock-solid instrumentation and not overshadowing it. The guitar work was full of heavy, djenty, downtuned riffs and the bass complemented it with that wonderful “klank” tone that Korn pioneered in the 90s. They didn’t overdo it, but occasionally they augmented dramatic snare drum hits with an effect that made it sound like a cannon detonating deep in a cavernous space.
Photos by Brian Nielsen
Until the literal day of the festival, Chat Pile had gone completely under my radar. I am slowly realizing that I may live under a rock when it comes to current music. Thankfully, Mary told me they were worth making time for. Boy howdy, she was right. Chat Pile is aggressive, abrasive, thick, and exquisitely doomy. I loved the fact they were able to deliver the crushing, oppressive doom vibe without playing painfully slow. They have a sound that is distinct and easily recognizable, but unique enough that I really don’t know who to compare them to. Or maybe the comparable bands just haven’t found their way to the rock I live under yet. Doesn’t matter, I’m hooked. As they took the stage, before their first song exploded, I couldn’t help but think their singer looked strikingly like Jim Breuer. It was almost as if he had teleported straight from the 1990s but somehow grew a mustache on his way here. The visuals were misleading, and I was not prepared for his unsettling yet powerful vocal delivery.
Photos by Brian Nielsen
Tool was cool. I only caught their first two songs, though, because it was infinitely more important for me to secure a prime spot for Bad Religion. Tool’s performance was highly anticipated, and I wish I had more to say about it. From where I was standing, I couldn’t get a good view of the band members, and to no one’s surprise, they were not broadcast on the video displays at all. The band instead opted for their signature trippy, avant-garde visuals. The set opened with a wall of feedback and eerie guitar noise while electricity from a Jacob’s Ladder climbed up the video displays. As the opening notes of “Stinkfist” kicked in, the projection cut to surreal, alien-like shapes and structures. The structures contained extraterrestrial humanoid beings that reminded me of the Engineers from Prometheus—except they were wearing khakis and sporting total dad bods. Weird. I can definitely see how seeing Tool could be a hallowed experience in the right setting, one that leaves a mark on a true fan. However, I am a casual fan at best. From where I was standing, it was kind of like listening to the studio recordings of the songs really loud while watching one of their music videos outside on a giant TV.
I’ve seen Bad Religion enough times to lose count—at least 10 times, probably closer to 15. I have never once been disappointed and always leave euphoric. That held true this year at Riot Fest, but for the first time, things were a bit bittersweet and complicated. I never thought I’d have the official opportunity to photograph a band of this magnitude that holds such deep, foundational importance to my musical identity, and I was ecstatic that it was happening. At the same time, watching a show through a viewfinder while devoting most of your attention to what will make a good photo is a vastly different experience than being present and getting lost while connecting with your favorite band, even in the best conditions.
Photo by Brian Nielsen
And I was not in the best conditions. I was shooting the band from the edge of the general standing area, using an unwieldy, massive telephoto lens. I had been using it for the whole festival at this point, but truth be told, it was a new purchase I made specifically to shoot BR. The distance, coupled with being stuck with a single static vantage point and using new equipment I was still getting used to, made for a challenging shoot. The photos I got genuinely fall short of my best work by a noticeable measure, but I don’t care. I am still in absolute disbelief that I got to photograph them; it is one of the highest honors I’ve had.
Musically, they sounded every bit as phenomenal, fast, and precise as every other time I’ve seen them over the last 25 or so years. Nothing will top seeing them play at a Riot Fest after-show at the legendary, now-defunct Double Door—a venue small and intimate enough that my band was able to play there. I got to see Bad Religion play on a stage I had already been on the other side of. Nothing is going to beat that experience, but this one was still extraordinary. I was thrilled by the number of songs they were able to fit into their timeslot, including several of my personal favorites. Despite the challenging photo conditions, something special lit up inside the back of my mind when I was able to recognize a favorite less than three seconds in. “Generator,” “I Want to Conquer the World,” “No Control,” “Struck a Nerve,” “Suffer,” “Infected,” “21st Century Digital Boy,” and “You” all had that effect.
Photos by Brian Nielsen
Hilarious highlight: Greg was talking to the crowd after the second or third song and jokingly said they would get right back to playing “as soon as that garage band is finished.” The stages were close enough together that in between Bad Religion songs you could easily make out what Tool was playing. Jay quickly chimed in to point out they have shared concert bills together before, the first time dating back to the 1980s.
Riot Fest shortened the schedule due to impending rain, and Bad Religion was one of the last bands to play, with their cutoff time listed as 8:00 PM. Much to my joy, the rain was later than expected, and Bad Religion was still going when I checked my watch at 8:10. Nothing lasts forever, though. Shortly after jinxing things by checking the time, I heard the opening harmonics of “Sorrow.” I had seen them close their set with this song so many times before that I was sure it must be the last one. I quickly put my camera away before the opening vocals were sung so I could be off the clock and lose myself in the last song. It was everything I hoped it would be, and in a “But wait, there’s more!” moment, they went straight into “American Jesus” before exiting the stage.
Coinciding with the arrival of their new album, Netherworlds, Finland’s masters of melancholy unveil the epic “The Hour Grows Late” featuring Tomi Joutsen, Tomi Koivusaari, and SanteriKallio.
Markus Vanhala (guitar) comments: “‘The Hour Grows Late’ falls on the more epic side of the Insomnium spectrum, perhaps alongside classics like ‘Pale Morning Star’ and ‘Godforsaken.’ It’s a longer adventure in music, venturing a little further into the progressive dark side of the album’s moon. We’re paying respect to the people who have fallen before us while we’re left alone in the dark and cold, with only two companions by our side: misery and sorrow. The new album deals with themes of loss, growing old, and missing all the people and creatures who have left us behind and headed to the Netherworld. The rest of us will follow with certainty, but not yet.”
He adds about the guests on the song: “I had been thinking about asking my good buddy and band bro from Cemetery Skyline, Maverick or Goose, depending on the day, Mr. Santeri Kallio, to play an acid-trippy synth solo in the chaotic middle section of the song. At the same time, our producer, Miiro Varjus, came up with the idea of asking both Tomis to guest on vocals on this very same song. The fact that these two ideas came together felt like such perfect synchronicity that we simply couldn’t not make it happen. The boys did well, and I’m especially happy to hear good old cookie monster, old-school Tomi Koivusaari growling.””
If you’re wondering about the white ribbons seen throughout the video: Karsikko is a sacred memorial tree tradition in Finnish and Karelian folklore. These trees served as symbolic boundaries between the worlds of the living and the dead. During funeral processions, a mark was carved into a designated tree to commemorate the deceased, while ribbons and strips of clothing were hung on ancestral trees to honor their memory and help ensure their souls found peace.
Netherworlds is available here in the following formats:
Ltd. Gatefold iridescent pearl dawn 2LP (500x) Band
Gatefold translucent sea blue 2LP (US version)
Digital album
Insomnium is also embarking on an extensive touring run, kicking off with a string of Finnish shows. In November and December, they will head to the USA and Canada with Amorphis, supported by Hinayana. After a short break over the holiday season, the band will return to the road alongside Amorphis for a European tour in January and February 2027, with support from Unto Others.
Ever since emerging from the mist-laden town of Joensuu in Karelia, Insomnium has served as a guiding light for those drawn to the shadows. Now, for the tenth time, they lift the curtain on a new chapter—an album steeped in Finnish melancholy, where haunting melodies intertwine with the unrelenting force of ferocious melodic death metal.
Now, for the tenth time, Insomnium opens the door to a new chapter. Their new album is a journey deeper into the shadows, steeped in the unmistakable spirit of Finnish melancholy and enriched by the band’s most nuanced and emotionally resonant songwriting to date. Sweeping atmospheres, poignant melodies, and crushing heaviness intertwine to create a work that is both deeply personal and universally affecting.
Never content to rest on past achievements or repeat familiar formulas, Insomnium continues to evolve with each release. Rather than revisiting established ground, the band explores new emotional and sonic territories, broadening its artistic palette while preserving the qualities that have made its sound instantly recognizable. The result is an album that feels both fresh and timeless: a bold step forward that remains unmistakably Insomnium at its core.
Behind the scenes, Netherworlds also marks the beginning of a new production era for Insomnium. Taking on a pivotal role throughout the album’s creation, producer and engineer MiiroVarjus emerged as the band’s closest creative confidant, helping to shape and refine the record’s sonic landscape. His meticulous approach and deep understanding of the band’s artistic vision proved instrumental in bringing the album’s dark, immersive atmosphere to life.
Once again, Insomnium entrusted the album to the renowned team at Fascination Street Studios. Acclaimed producer and mixer Jens Bogren, together with mastering engineer Tony Lindgren, delivered the album’s powerful final sound. The result is a record that sounds both majestic and intimate, perfectly capturing the emotional weight and dynamic range that define this new chapter in Insomnium‘s evolution.
I can’t think of a North American band that tours quite as often in Europe as Robert Jon and the Wreck. It was only in April that I saw the final show of a UK tour at Shepherds Bush Empire, … Continue reading →
With a band name like SATAN, you would be easily forgiven for thinking that musically you had a black metal band on your hands, and not a NWOBHM band, as was the reality, although the perhaps misnomer was the cause of many a band name change in the future. The 4 CD boxset ‘Out of the Fire’ is a dream of a package for fans of the North East of England band, covering their origins and formative years, with two full length albums and a plethora of demos and bonus material.
Starting with CD 1 is the classic debut album ‘Court in the Act’, an album well ahead of its time, so much so that it probably didn’t have the impact it should have, the songs were driven by the highly innovative guitar duo of Russ Tippins and Steve Ramsey, with razor sharp riffs, amazing melodies and intricate harmonies. A solid rhythm section of Graeme English on bass and drummer Sean Taylor, all topped off with the unique vocals of Brian Ross. The album these days is seen as hugely influential with the songs not only being firmly rooted in classic heavy metal, but bringing in elements of speed, thrash and touches of power metal, and the song writing in general was a cut above the majority of other bands from the time, with the likes of “Trial by Fire” and the atmospheric “Alone in the Dock” being standout numbers. This version also adds 3 bonus tracks, two original outtakes and a remix of “Break Free”.
CD 2 is a real delight for completists as it contains the pre-Court in the Act single “Kiss of Death” plus B-side and the bands early ‘Into the Fire’ and original ‘Guardian’ demos, together with some early live tracks. These early tracks are quite rough and ready and original vocalist Trevor Robinson who although decent enough was perhaps a bit too rough around the edges, but it’s great to listen to see how the band developed from these early recordings. CD 3 is a complete blistering live performance from a 1983 gig from the Dynamo Club, Eindhoven, with live renditions of the majority of the debut album tracks, together with demos, and is performed with much gusto and enthusiasm, the sound isn’t brilliant but is still a very enjoyable listen.
Perhaps the most interesting of the four discs is CD 4, which is the one and only full-length album by BLIND FURY, which has become quite difficult to get hold of in physical form, and is basically SATAN minus vocalist Brian Ross, who is replaced by Lou Taylor, the band had also become fed-up of being associated with more extreme bands and chose to use a less controversial moniker which happened to be the old name of Taylor’s previous and now dissolved band, BLIND FURY. As an aside, such is the complexity of the SATAN name saga, they also went under the name of PARIAH for three albums in the late ‘80s, that the inlay of this collection provides a nice family tree of all the different iterations together with associated member bands. Taylor’s style isn’t a million miles away from Ross’, but does go for a more grandiose and American style, and lacks some of the latter’s charisma, musically the band tread similar ground, but perhaps lean more into those power metal stylings, with the songs in general being a little bit less complex and busy than the debut, while lyrically the subject matter is a bit less serious with titles like “Do it Loud” and “Contact Rock and Roll’. There is still plenty of great riffing though with the likes of ‘Evil Eyes” and “Out of Reach” while “Dance of the Crimson Lady Part 1” is something completely different, being a moody semi-ballad with some epic songwriting.
Overall, this is a great package for fans of the band but is also a good place to start for newbies, with lots of material and a very informative inlay booklet with interviews with all the band members. As someone who has become a fan relatively recently, I can’t recommend their 21st century reformation material highly enough, I found this release both educational and highly entertaining. A highly recommended Box Set.
Faroese visionary artist Eivør has released her stunning new album Tungl yesterday, 16th October, through Nuclear Blast Records.
Eivør comments: “The song is about a faint memory that still lingers, almost like a dream. I remember looking up at the moon in the dark sky when I was little, wondering why it always looked so sad. I would imagine all sorts of reasons, and my imagination would just wander off.
“The music video for this track was created by the incredible Gwenaël Akira. I just love how he understands my music in such a visual way and how he manages to capture the raw emotions, nature and a distorted dream like reality that captures the essence of this song beautifully.”
1LP gatefold (transparent & black marbled vinyl) + 7″ bonus vinyl – Artist Exclusive
Whether you’re already embedded in Eivør’s ever-expanding world or yet to fall under its spell, Tungl is a far-reaching journey of discovery.
Tungl – a Faroese word for ‘moon’ – sees Eivør reach further into elemental realms than ever before. Immersive, unmoored and steeped in a sense of time-stretched drama where familiar marker points give way as an inner compass emerges over its 10 searching tracks, it’s an album also in tune with a very contemporary need for navigation, self-belief and rejuvenation in the most uncertain of times.
Eivør has spent the summer performing across Europe, presenting a select number of headline concerts and appearing at leading festivals including Paléo Festival, Brutal Assault and Summer Breeze. She has two summer performances left, at ArcTanGent (UK) and Sun and Thunder Festival (Spain).
To celebrate the release of Tungl, Eivør will present three special album release concerts this October. Eivør will be playing two consecutive nights at Nordic House in Tórshavn, Faroe Islands, before she returns to Harpa’s Eldborg Hall in Reykjavík, Iceland, on 23rd October for a unique performance featuring special guest musicians in one of the Nordic region’s most iconic concert halls. These intimate events will offer audiences a rare opportunity to experience Tungl performed in a special setting before Eivør embarks on her extensive international tour.
Eivør will also be undertaking an extensive headline tour across North America later this year, and across Europe and the UK into 2027. For a list of dates and to get tickets please check here.
For over two decades, Faroese artist Eivør has been regarded as one of the most bewitching and fearless voices to have emerged from the Nordic music scene. Ranging across rock, pop noir, jazz and folk to electronica over the course of 11 solo albums, various collaborations, live albums and soundtrack work including The Last Kingdom, God of War, and God of War Ragnarök, her musical path has revealed both a restless, explorative spirit and a singer deeply connected to her Faroese roots, earning her the Nordic Council Music Prize along the way.
It’s a testament to the singular yet universal nature of her music that her fanbase has grown to include metalheads and the Norse pagan folk scene – for whom her startling voice, hide drum and throat-chant incantation, Trøllabundin, has become an unofficial anthem – as well as the mainstream, all instinctively understanding that music coming from a place of true authenticity knows no boundaries.
If Eivør’s last album, Enn, marked the beginning of a darker, more atmospheric phase, her forthcoming release, Tungl and her first for the powerhouse German metal label Nuclear Blast, sees her reach further into elemental realms than ever before. Immersive, unmoored and steeped in a sense of time-stretched drama where familiar marker points give way as an inner compass emerges over its 10 searching tracks, it’s an album also in tune with a very contemporary need for navigation, self-belief and rejuvenation in the most uncertain of times.
As Eivør herself says: “Tungl explores the ever-changing cycles of life – its songs move between moments of tenderness and heartache, love and loss, and the emotional tides that shape us. Like the moon that inspired its title, Tungl serves as a gentle guide through life’s darker passages, illuminating the beauty, resilience, and transformation found along the way.”
Back in the 1980’s, there were a lot of amazing thrash metal bands that emerged from the San Francisco Bay Area scene and in my opinion one of the best was Forbidden. They had a knack of being amazingly technical and beautifully melodic whilst managing to remain wonderfully fast and aggressive. They formed back in 1985 originally as Forbidden Evil before eventually shortening to just Forbidden in 1987 dropping two bona fide thrash classics with 1988’s “Forbidden Evil” and 1990’s “Twisted Into Form” – two of the best thrash metal albums ever recorded. When it came to the 1990’s, Forbidden fell into a trap that befell many other thrash metal acts during that era – the dreaded stylistic change with two albums of forays into the fashionable groove metal and alternative rock. After 1997’s “Green” album, Forbidden disbanded for many years eventually reforming in 2007 and dropping a new album “Omega Wave” in 2010 which was a welcome return back to a far more thrashing sound. This return did not endure however with the band splitting again in 2012 and everyone assumed that Forbidden were gone for good. However, the band reformed in 2023 performing a bunch of shows but also promising that new material was incoming. Now in 2026, we finally get the sixth album from Forbidden – the self-titled “Forbidden”.
This is a much anticipated return for Forbidden as the band’s recent live shows have proved there is a lot of fire burning in the band. Founding guitarist Craig Locicero and bassist Matt Camacho remain from the old days but the band have new/old blood in the line up with Chris Kontos (ex-Machine Head, ex-Attitude Adjustment) on the drums and Jeremy Von Epp (The Venting Machine) on guitars. Original vocalist Russ Anderson has retired from music but filling his massive shoes is the more than capable Norman Skinner (Hellscream, Skinner) who can nail the old stuff but also brings his own style to the new material on the album. So the big question is how does Forbidden sound in 2026?
With the setlists for the live shows being very much centred around their first two albums, there was massive hope for a full on thrash assault. If you expected “Forbidden Evil” or “Twisted Into Form” Part 2 then this album isn’t going to do it for you but if you are expecting an album that contains a bit of everything that Forbidden have done to date but also sounding like a contemporary thrash band then “Forbidden” will definitely leave you a happy listener. This isn’t an all guns blazing thrash album but it does definitely thrash hard but in a more restrained way. This is an album that has a ton of atmosphere as much as it has crushing riffs. The album opens with a trio of thrashers – ‘Single Point Failure’, ‘Burning The Lungs Of Earth’ and ‘Divided By Zero’ which have that old school Forbidden crunch with a contemporary twist. It is with ‘DCLXVI’ and ‘Psyclops’ that we start to see that there are going to be some different sounds on this album as the songs both pack a ton of groove and some chugging riffs as well as having a bit of a darker atmosphere. Following that is ‘Jinsei’ which is a mellow and atmospheric piece with some gentle vocals from Norman which is a bit of a waste of time and unnecessarily breaks up the flow of the album. Thankfully it is followed up by two hardened thrashers on the album – the crushing ‘Mutually Assured Dysfunction’ and the brilliant melodic and mid-paced ‘Sycophantasy’ which has a guest spot by Brann Dailor of Mastodon. The last chunk of the album is more forgettable with ‘The Burden’ and ‘Sol Grave’ being solid but ultimately rather forgettable but the album closes with its most experimental song ‘Flower Of Life (Chaos By Design)’ which is a full blown progressive thrash epic complete with piano, strings and atmosphere.
“Forbidden” is a a solid comeback album for the band. Much like its predecessor “Omega Wave”, it has some fantastic moments as well as some moments which feel more lacklustre and could have been left out but when this album hits the right spot, it really does slay. The drumming from Chris is killer and the guitar work from Craig and Jeremy is killer with some truly magnificent riffs and solos. Norman does a fantastic job on vocals channelling the mighty Russ Anderson at times but also putting his own stamp on things with a far more aggressive and snarling style which matches the darker tone of the album.
As said previously, “Forbidden” isn’t a straightforward thrasher. Throughout the album, you will hear elements of groove metal, traditional heavy metal, power metal and progressive metal. This will no doubt disappoint the old schoolers but it isn’t 1990 anymore and although it isn’t perfect, “Forbidden” is a fitting return for the band and as they said themselves this “isn’t merely a revival for the quintet, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution”. Highlights include ‘Single Point Failure’, ‘Burning The Lungs Of Earth’, ‘Mutually Assured Dysfunction’ and ‘Sycophantasy’.
Of all the elder statesmen of death metal, Morbid Angel was a band I never really understood. Sure, I’d heard Altars of Madness, but my fresh ears were put off by its thin production when more thickly bludgeoning was to be had. The more immediate violence of bands like Cannibal Corpse and the unearthly foulness of Demilich and seepage of Autopsy ensnared my growing tastes, and each return to Morbid Angel left me feeling cold and empty. One day, everything changed when I encountered the subject of today’s retrospective in a record store, adorned in what I still consider some of Dan Seagrave’s most entrancing 
