Good Day Noir Family,
“Dangle” arrives with a jolt of electric heat, driven by a guitar riff that feels bold, gritty, and instantly alive.

Dangle is Omnesia’s Single Out Now

 There’s a raw pulse at its core, and it sets the tone for a track that thrives on confident swagger and vivid energy.

As the Hammond organ slides into the arrangement, the song expands. Suddenly, those swirling keys push the music toward a psychedelic zone that hints at classic rock icons, yet remains unmistakably tied to Omnesia’s modern identity.

When the vocals enter, the shift is striking. The singer delivers the melody with authority, carrying fire and control. Her tone cuts through the mix with sharp clarity, giving the track a fierce emotional center. Meanwhile, the guitars continue to snap, stretch, and roar, adding color and tension without overwhelming the groove.

Although the chorus hits hard, the verses reveal another side of the band. Here the rhythm section introduces funk-leaning movement, and the keys bounce with a playful, almost Stevie Wonder-like lift. This contrast gives the track an engaging balance between grit and swing, making each transition feel purposeful. Furthermore, the band leans into their experimental streak in the bridge, where everything drops into a dreamlike haze that feels slightly surreal. It’s a brief detour, yet it enhances the song’s personality and brings out their psychedelic instincts.

The guitar solo that follows is a highlight, marked by expressive bends and an angular style. It bursts forward with confidence, yet still serves the track rather than overpowering it.

“Dangle” is vibrant, explosive, and filled with attitude — a rock track built to shake the walls while still showing thoughtful musical detail.

Dangle is Omnesia’s Single Out Now!

Pure Rock!

Omnesia is androgynous vocalist medella kingston + eclectic guitarist/producer M2= auditory omakase, where future vintage rock, indie dance, electro-pop, nu wave + prog find common ground.

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EMPYRE ANNOUNCE ‘ROAD TO NOWHERE’ UK HEADLINE TOUR FOR 2026

Classic Rock heralded “giant killers” Empyre have shown no signs of stopping following the release of their album ’Relentless’ in 2023 on Kscope.

2023 and 2024 was a whirlwind couple of years of appearances, interviews, festivals, tours, stellar reviews and pub crawls. But 2025 took things to the next level as the band went out on on their first ever headline tour in May, followed by runs in October supporting Cats in Space and then most recently The Raven Age last month.

In 2026, as they work on their new album, Empyre will continue to build on their momentum with a 2^nd headline tour including their biggest ever home town show. Frontman Henrik Steenholdt comments,

“After three tours this year including the resounding success of our first headline run we made it a priority to get back out on the road as soon as we could.  We’re planning a set list that mixes fan favourite Empyre tracks along with new songs showcasing our sound going forward. Plus we’ll be rounding it all off with our biggest home town show ever. It’s going to be special.”

Dates:

Fri 10th April – Rescue Rooms, Nottingham

Fri 17th April – Downstairs At The Dome, London

Sat 18th April – Clwb Ifor Bach, Cardiff

Sat 2nd May – Audio, Glasgow

Sun 3rd May – Waterloo, Blackpool

Sat 9th May – Roadmender, Northampton

Tickets are available now from:  www.empyre.co.uk/gigs 

Empyre have previously shared the stage with the likes of Terrorvision, Gun, Massive Wagons, South of Salem, Stone Broken, The Damn Truth,  Black Spiders and Vintage Caravan, as well as performing at Takedown Festival, Planet Rock Winter’s End, Steelhouse Festival and more. 

Relentless is out now via Kscope on CD, vinyl and digital platforms via https://empyre.lnk.to/Relentless

Watch the videos for Waking Light / Hit & Run / Parasites and Relentless. 

Empyre are:

Henrik Steenholdt: Vocals and guitar

Did Coles: Lead guitar

Grant Hockley: Bass

Elliot Bale: Drums

Follow Empyre:

Facebook: https://www.facebook.com/EMPYRE/

Twitter: https://twitter.com/EmpyreRock

Instagram: https://www.instagram.com/empyrerock/

Youtube: https://www.youtube.com/channel/UCZX8Cp9zqFuRyRCdybGwKfg

Spotify: https://open.spotify.com/artist/5QeMbHunpR4zPKLDEL4i7O

Kscope: www.kscopemusic.com/artists/empyre

Primitive Man brought an eclectic lineup ranging from experimental noise to the heaviest doom metal to the Lodge Room in Highland Park/Los Angeles on December 1, 2025. Opening the show was post-metal supergroup Guiltless. They hit on all the elements of the lineup from noise rock to sludge metal.

Fronted by NYC’s Storm of Light and Battle of Mice guitarist/vocalist (and former Neurosis visual artist) Josh Graham, the band also features Storm of Light and Generation of Vipers drummer Billy Graves, but Brian Fell of Rile is filling in on drums for this tour. Bassist Sacha Dunable from LA’s Intronaut and Dan Hawkins on guitar round out the lineup. Their full-length debut Teeth to Sky was released earlier this year on the Neurosis co-owned Neurot Recordings. 

Playing their first show of the tour, and their first in LA in over a decade, were the noise metal legends TODAY IS THE DAY. The Steve Austin-led mainstays are touring in support of their latest album, Never Give In, the first part of a two-album concept, with the second part slated for release in 2026.  The album was written, recorded, mixed, and mastered by Austin at his studio in Maine. Austin also handled art direction and is releasing the album through his own SuperNova Records, which now releases all TODAY IS THE DAY projects after previously releasing music through Amphetamine Reptile (AmRep), Relapse Records, BMG, and more.

The band is doing a two-week stint with Primitive Man and will continue their Never Give In headlining tour through the end of the year, including a date with Eyehategod in Augusta, GA.

Past Primitive Man tourmate (with Elizabeth Colour Wheel), Chinese musician/film composer/artist Lane Shi Otayonii was up next with her solo project Otay:onii. Otayonii also fronts the funeral doom sludge band Forn. Elizabeth Colour Wheel was called one of the 5 bands you need to know by Revolver in 2019, and Metal Injection described their album Nocebo as “a testament to all that is heavy, beautiful, and twisted.” 

Her solo performance (truly solo with no backing band) was hard to classify. There are no blatant doom metal sounds, but you can vaguely feel the undertones buried under a more darkwave sort of art pop sound. At times, she evoked feelings of a post-industrial Bjork with both her face and voice. Her latest album True Faith Ain’t Blind is out now on WV Sorcerer Productions.

Arguably one of the loudest doom metal bands around, Denver’s Primitive Man finally took the stage with a comfortably loud volume, probably thanks to the Lodge Room. The self-proclaimed “Planet Earth’s 1st and only death sludge band” came out to a crowd clamoring to finally experience the headliners. The band delivered an expected crushing set that followed the experimental vibe of the night.

Their latest album follows suit. “Despite leaning into their more experimental side, Primitive Man maintain a tight grip on the heavy sound that has defined them for years,” and is considered their best album to date by many critics and fans alike. Observance is out now on Relapse Records.

The head of Birmingham Airport has officially dismissed the growing movement to rename the facility after Ozzy Osbourne, despite strong public backing and support from the late singer’s daughter, Kelly Osbourne. CEO Nick Barton emphasized that keeping the airport’s current name is “incredibly valuable for development.”

A petition urging the airport to rebrand in honour of Ozzy has amassed nearly 77,000 signatures. The petition’s creator, Dan Hudson, said: “It continues to go from strength to strength.”

Barton acknowledged Ozzy’s cultural influence but stressed that the airport’s existing name is critical to expanding its route network. He explained: “Birmingham, amazingly, has an extraordinary list of fantastically influential people, going from historic people like Charles Darwin, as well as Robert Plant and Sir Lenny Henry but the answer is no.” Speaking to BBC Radio WM, he added: “The airport name is so important for our future development of what we’ve got, which is a fantastic airport, but yet to grow significantly, which we will do on the back of its name.”

However, Barton said plans to honor Ozzy in a different way are moving ahead. “It’ll be like a mural recognition of Ozzy and other greats in the area,” he said. A recent airport statement described the effort as “an exciting homage” to the musician.

The statement continued: “We know he was an inspiration to so many in our region proving talent, hard work and commitment can take you to all corners of the world and we are committed to honouring his legacy within our terminal space.”

Hudson said he intends to keep pushing for the renaming, insisting “this isn’t going away.”

During a BBC WM appearance, Kelly Osbourne said renaming the airport after her father would be an “incredible tribute to him and the legacy that he has left behind.” She added that it would be especially appropriate because “this city made him, and he made this city.”

Supporters of the proposal point to other airports around the world named after influential figures, including John Lennon Airport in Liverpool, JFK and LaGuardia in New York, and Louis Armstrong Airport in New Orleans.

Hudson previously said the campaign was going “pretty well” and that he received a “really good response” when raising the idea at a recent Birmingham City Council meeting. He also noted that he has the support of most of the Osbourne family.

The post Airport Shuts Down OZZY OSBOURNE Renaming Idea, But Fans Aren’t Letting Go appeared first on Sonic Perspectives.

On January 23, 2026, The Damned will release Not Like Everybody Else, a personal and celebratory covers album dedicated to founding guitarist Brian James, who passed away on March 6, 2025. The record was tracked in five intense days at Revolver Studio in Los Angeles, capturing a mix of emotion and creative urgency. On the album, The Damned — Dave Vanian on vocals, Captain Sensible on guitar, Rat Scabies on drums, Paul Gray on bass, and longtime keyboardist Monty Oxymoron — reconnect with the energy that defined their earliest days. Not Like Everybody Else also marks the first time in 40 years that Rat Scabies has returned to the studio with the band.

The album opens with R. Dean Taylor’s “There’s A Ghost In My House” before moving into interpretations of classics such as Pink Floyd’s “See Emily Play” and The Animals’ “When I Was Young.” It closes with a striking farewell: The Rolling Stones’ “The Last Time,” featuring Brian James himself. The performance comes from his final live appearance with The Damned at Hammersmith and has been newly remixed for this release.

To commemorate the album, The Damned will deliver a one-off covers show at Albert Hall in Manchester on January 28, 2026. The band will perform songs from Not Like Everybody Else alongside familiar covers that have shaped their career. The night is intended as a tribute to Brian James and the band’s shared history.

The second video and single, “See Emily Play,” is available to stream now. Sung by The Damned guitarist Captain Sensible, the track merges the band’s recognizable punk edge with the psychedelic character of the original.

Timed to align with The Damned’s 50th-anniversary celebrations, Not Like Everybody Else serves both as an homage and as a reflection of the resilience of one of punk’s most influential groups.

Fifty years of The Damned also marks five decades of punk itself, as the explosion of 1976 reaches its half-century milestone. The band helped spark the movement with the release of the first U.K. punk single, “New Rose”, and their debut album, Damned, Damned, Damned. Brian James wrote the first single and served as the primary songwriter on the album before leaving the group after their second record, Music For Pleasure, in 1977.

Over the years, the band built an ever-growing following through high-energy live shows, darkly thematic lyrics, and Dave Vanian’s distinctive baritone, which helped place them at the forefront of the emerging goth-rock scene.

The Damned have also confirmed a special 50th-anniversary show at OVO Arena Wembley on Saturday, April 11, 2026, honoring their five decades as one of the foundational forces in British punk rock. The celebration will feature special guests The Loveless featuring Marc Almond, Peter Hook And The Light, and The Courettes.

The post THE DAMNED Shares Cover of PINK FLOYD’s “See Emily Play” From Upcoming Album appeared first on Sonic Perspectives.

Good Day Noir Family,
An Dan’s Blood Flooded Song feels like a portal rather than a record—an invitation into a world shaped by myth, ritual, and a sense of ancient memory.

Blood Flooded Song is An Dan’s Album Out Now

The album opens with “Winter Dance,” where a fragile piano figure falls gently like snow over a silent forest.

Gradually, an angelic voice rises through the stillness, guiding the listener into a realm that feels serene and haunted. Soon, guitars enter as faint glimmers in the dark, almost like watchful eyes hidden between trees. Right away, the band establishes an aesthetic rooted in grandeur and mystery. Their Greek origins seem to echo through every note, as if the weight of centuries shapes the emotional architecture of their music.

Transitioning into “All My Loving,” the album maintains its ethereal tone while expanding its depth. The vocals here take on a hypnotic character, almost siren-like, evoking mythological traditions while reshaped with a modern sensibility. The arrangement unfolds patiently, never rushing, and this breath allows the melodies to settle into the listener’s chest. It’s a piece that balances fragility and strength with remarkable cohesion.

The title track, “Blood Flooded Song,” introduces a more forceful edge. Its rhythmic structure carries a medieval pulse, giving the impression of warriors marching through a dimly lit passageway. The track is driven by a sense of urgency, yet it never abandons the atmospheric elegance that defines the album. The interplay between male and female vocals is particularly striking, offering contrast and unity as they narrate a story that feels ancient, symbolic, and emotionally charged. Moreover, the guitars expand into broader shapes, pushing the composition into territories that border on cinematic metal.

As the album moves toward its conclusion, “There Is No Love” serves as a dramatic, almost spiritual finale. A deep male voice introduces the piece with the authority of an oracle, creating an immediate sense of ritual. When the female voice enters, the track transforms into something that feels closer to a ceremony than a song. Minimalist instrumentation supports the tension, and every phrase lands with intention. It’s a closing moment that lingers, leaving the listener with the impression of having participated in something intimate and timeless.

Across the entire album, An Dan demonstrates a rare ability to merge atmospheric metal, ancestral energy, and theatrical storytelling. Their compositions are shaped with patience, and their interplay between voices heightens the emotional dimension of each track. Blood Flooded Song does not simply present music—it shapes a narrative world and invites you to walk inside it. This is metal interpreted as myth, memory, and ritual, and it stands as one of the more fascinating releases within its genre.

Blood Flooded Song is An Dan’s Album Out Now!

Mythic!

Blood Flooded Song is An Dan’s Album Out Now

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Guns N’ Roses have returned with a pair of new singles, their first fresh material since 2023. Titled “Nothin’” and “Atlas,” the tracks highlight two contrasting sides of the band. “Atlas” captures the group’s driving, full-throttle rock sound, while “Nothin’” leans into a more reflective mood with atmospheric keys and expressive guitar work. Both songs are out now through Interscope Records.

In recent years, Guns N’ Roses have been steadily releasing new music while touring internationally to sold-out crowds. Following 2023’s releases “The General” and “Perhaps”, the new tracks “Atlas” and “Nothin’” become the latest additions to their setlists, which already blend classic hits with deep cuts from their early catalog. Beginning December 12, the two new singles will also be available for pre-order on seven-inch vinyl, a band-store-exclusive cassette, and a Japan-exclusive SHM-CD.

The band will return to the road in spring and summer 2026, with shows scheduled in Mexico and Brazil before moving into several European markets and then stadiums across the United States and Canada. This run includes a notable stop at the Rose Bowl in Los Angeles, marking their first performance at the venue in more than three decades.

The tour news follows the release of the deluxe Live Era ’87–’93 box set, a limited-edition pressing featuring remastered audio and updated artwork. Although Live Era documents Guns N’ Roses at an earlier point in their career, its arrival aligns neatly with the band’s reputation—then and now—as one of rock’s most intense live acts.

Alongside previously announced festival dates in Mexico, Brazil, and the U.K., the upcoming 31-date tour includes a European leg with stops in Poland, Ireland, the Netherlands, Germany, Belgium, and France. Guns N’ Roses will then return to North America for shows spanning the U.S. and Canada.

To this day, Guns N’ Roses remain widely regarded as one of the most impactful and uncompromising American rock bands.

The post GUNS N’ ROSES Share Their Two Latest Video Visualizer For “Nothin'” And “Atlas” appeared first on Sonic Perspectives.

Testament – Para Bellum (Album Review)

I’ve been waiting to carve out some time to write about the new Testament album, Para Bellum, and I’ve finally got it! I have a rule that I don’t review albums without listening to them at least a few times, so I needed a few days to digest it. Now that I have a much better sense of what we’re dealing with, let’s dive in.

Before we talk about the album, let’s talk about the band. Testament is, of course, one of the most experienced metal bands that is still active today. They started their career in the ‘80s, and even though they dealt with some difficult times (and Chuck dealt with some scary health problems) in the early 2000s, they managed to storm back onto the scene with the full intensity we’ve come to expect. They’ve been unstoppable ever since.

The lineup has remained relatively consistent over the years, especially compared to their peers in the genre. Eric Peterson and Chuck Billy are the stalwarts who have anchored the band for decades, writing the majority of the material. Lead guitarist Alex Skolnick, who left in the ‘90s to pursue other musical interests, returned in the early 2000s and remains a key part of the sound. Long-time bassist Steve Di Giorgio rejoined in 2014 following Greg Christian’s exit. Finally, after a long stint with Gene Hoglan (and a brief return of Dave Lombardo), the band recently recruited Chris Dovas. Para Bellum marks his recording debut with the group.

The album’s overall mix feels similar to previous releases, so I initially assumed Andy Sneap handled the production again. However, the credits show that Para Bellum was mixed by Jens Bogren. To my knowledge, this is the band’s first collaboration with Bogren, who brings a wealth of industry experience to the table. I was surprised not to see Sneap’s name, since he has manned the boards for every album since The Gathering in 1999. That said, Andy’s role with Judas Priest has expanded significantly in recent years; between touring and production commitments, it’s understandable he sat this one out. I wouldn’t say Bogren has the exact same style, but the result isn’t a drastic departure, either.

As for the songwriting, here lies the double-edged sword of modern Testament. If you are looking for consistency, Para Bellum delivers in spades. It fits perfectly alongside their output from the last two decades. But when you have a lineup this insanely talented, “consistent” can sometimes feel “safe”. Yes, there are blast beats here and there, there’s some black metal influence, and there is even a ballad, so you have some diversity which I truly appreciated as a fan. I just wish there were more curveballs to keep listeners guessing.

Having said that, even if the blueprint is familiar, the construction is flawless. Once I stopped waiting for a musical revolution and simply accepted the album for what it is, I found plenty to enjoy. The formula might be safe, but the riffs are still lethal, and the individual performances are top-tier. Let’s dig into a few of the standout tracks that prove there is plenty of life left in this machine.

For me, the best song on the album is Nature of the Beast. It sounds like late ‘80s Testament but with modern production, and you can clearly hear the NWOBHM influences. It’s less aggressive than the openers, leaning more into melody, but it is incredibly well-crafted. It serves as a good reminder that Testament can execute this style just as well as the fast thrashers. It also features a great lead section that builds up nicely and adds so much texture to the track. I know most fans want The Gathering-style intensity all the time. I get that, it’s my favorite album too! But let’s not forget this band delivered classics like Practice What You Preach and Souls of Black, which were full of melodic metal. This track is a clever nod to that era.

Room 117 is another highlight where melody meets aggression. Listening to this track, I realized just how much I’ve been missing the more melodic side of the band. It’s more straightforward than the first few cuts on the record, but that allows the riffs some breathing room to establish a serious groove. It carries that same classic heavy metal influence and goes hand-in-hand with ‘Nature of the Beast.’ These are definitely two of the strongest songs here.

While researching this article, I found an interview where Chuck Billy recalled asking Eric Peterson if these were even “metal riffs” (referring to Nature of the Beast, Room 117, and Havana Syndrome). He joked that he wasn’t sure if they belonged on a Testament album. That tells you these tracks sit a little outside the usual box. I know Chuck was just being cheeky, but rest assured, these are absolutely metal songs. I’m just glad Testament chose to include them. Testament can do melodic metal as well as, or even better than, their contemporaries. Why not explore that? It’s far more interesting than repeating the same song structure over and over.

Let’s also talk about Meant to Be, the ballad I alluded to earlier. Testament is no stranger to the power ballad, but this track stands out. While Eric Peterson dominates the album’s songwriting, this is a rare moment where lead guitarist Alex Skolnick co-wrote the music, giving it a distinct flavor. Notably, the song marks a first for the band: a proper string arrangement. We aren’t talking about keyboards or samples here; this features performances by renowned cellist Dave Eggar, who provided the arrangement along with Chuck Palmer. Testament excels at these dynamics, using distorted guitars to widen the sound while keeping the emotion intact. Some metal bands avoid slower tempos, but when done well, as it is here, it adds a crucial layer of depth to the album.

While I prefer the more melodic side of this album, there are some incredible songs that bring me back to the Gathering days. The title track, Para Bellum, has a barrage of riffs that remind you why Eric Peterson is one of the best rhythm guitarists out there (he plays quite a few leads on this record too!). If I were to pick a favorite among the heavier songs, this would be it. Great way to close out the album, too. I also loved Shadow People a lot. It’s perhaps a mid-tempo track, but definitely on the heavier side and I just love the way the riffs hit you. The mix allows the bass to shine on, too. When you hear the main riff, everything blends well together. I guess Eric was inspired by the horror movie Evil Dead Rise and wanted to compose something that sounded evil. I’d say mission accomplished!

Then you have Infanticide A.I., which is arguably the fiercest track on the record. Lyrically, it tackles the modern anxieties of artificial intelligence, but musically, it’s a showcase for their new drummer, Chris Dovas. His drumming here is relentless, driving the track with a level of ferocity that has breathed new life into the rhythm section, especially in the second half of the song.

There are great moments in the remaining tracks, too, but these are the highlights for me. I especially think very highly of Nature of the Beast and Room 117. They are likely to make a space for themselves in any Testament playlist I may put together.

It’s 2025 and Testament is alive and well! These guys know exactly what they’re doing, and Para Bellum is further proof of that fact. I’m curious to see what comes next. Maybe an album that embraces even more melody while maintaining the heaviness? A fan can dream…

Sources & Additional Reading:

Chuck Billy of Testament: “The New Album Has a Little Bit of Everything”…
Testament: All About the Band (Nuclear Blast)
TESTAMENT Unleashes Dark New Single “Shadow People” Ahead of Upcoming Album “Para Bellum”

The post Testament – Para Bellum (Album Review) appeared first on Mega-Depth.

Good Day Noir Family,
Amy-Lin Slezak returns with a track that feels emotional and fearless, and “You Don’t Believe Her” quickly proves why her voice has become such a recognizable presence in the Americana world.

You Don’t Believe Her is Amy-Lin Slezak’s Single Out Now

 The song opens with warm, roots-driven tones that set a heartfelt mood, yet it soon reveals deeper layers.

Her vocal tone combines grit and softness, creating a delivery that cuts straight through the mix and lands with genuine emotional weight.

Although the track draws influence from vintage Americana and classic folk-rock traditions, it never feels stuck in the past. Instead, Slezak uses that familiar musical language to address a painfully modern reality. Social media culture has created an environment where judgment spreads quickly, and women often become targets of disbelief and hostility. Through smart lyricism and strong phrasing, the song effectively highlights this issue without preaching, transforming personal storytelling into something universally relatable.

The chorus truly blooms. The melodies rise, the rhythm gains strength, and the arrangement opens up in a way that invites the listener to sing along. Because of its structure, the song grows naturally and maintains a steady emotional arc. Furthermore, the contrast between the verses and the chorus gives the track movement and makes the message hit harder. You can feel the frustration, yet you can also sense resilience.

The production plays a crucial role. Acoustic textures sit comfortably beside subtle electric flourishes, while the rhythm section holds everything together with confidence. Nothing feels overdone; each instrument supports the vocal line and allows the story to shine. Additionally, the mix keeps her voice front and center, emphasizing her expressive approach and letting every nuance breathe.

Moreover, Slezak’s interpretation elevates the entire piece. She doesn’t simply sing the words; she lives them. Her phrasing shifts from intimate to assertive, reflecting the emotional struggle described in the lyrics. That dynamic performance gives the song depth and authenticity.

In the end, the track stands as a strong reminder of how music can address contemporary issues with grace and artistry. Amy-Lin Slezak continues to show her ability to connect through storytelling, voice, and heartfelt expression, making this release one worth returning to.

You Don’t Believe Her is Amy-Lin Slezak’s Single Out Now!

Resonant!

You Don’t Believe Her is Amy-Lin Slezak’s Single Out Now

Amy-Lin is a classically trained performer and songwriter with a background in musical theatre and opera, holding a BM from SUNY Fredonia and an MALS from the University of Memphis Opera Program. After years on stages ranging from rural upstate New York to Broadway and opera houses, she has rediscovered her creative voice now that her children are grown.

Her music reflects a life rich with experience—blending country roots, theatrical flair, and a deep love of storytelling. Whether drawing from small-town beginnings or big-stage dreams, Amy-Lin brings honesty, heart, and a unique artistic perspective to everything she creates.

She currently lives in her hometown in upstate New York with her family, four horses, two cats, and her dog.

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