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The post Sister Sin unveil their cover of Cinderella’s classic track “Somebody Save Me” first appeared on Sleaze Roxx.

Posted on March 26th 2026, 12:10p.m.

From carnets to bus hire and visa applications that may be declined anyway, Svalbard’s Serena Cherry sounds off on the mounting costs that are making touring unsustainable

Alissa White-Gluz is working on two new albums with very different focuses

Emo’s Not Dead is bringing back its cruise for the 5th year, and the line-up is absolutely spectacular.

Setting sail from Miami heading towards Great Stirrup Cay, Bahamas, between January 22-26, 2027, the bands that are set to board showcase the wonderfully broad spectrum of sounds that make up the scene, both old and new.

Yellowcard, Mayday Parade, Dance Gavin Dance, Don Broco, The Ghost Inside, Silverstein, The Cab, Honey Revenge, The Paradox, girlfriends, Hawthorne Heights, Gym Class Heroes, The Wonder Years, Hot Milk, The Spill Canvas, letlive., The Fall Of Troy, Blessthefall, Saosin and more will be just a small part of the entertainment, too.

There’s the Joy Casino, water slides, go-karts, drinking tournaments, comedy nights, theme nights, and so much more. The ship also hosts a number of amenities, including elevated dining experiences, Mandara Spa & Salon, Vibe Beach Club, Aqua Park, mini golf, Pulse Fitness Center and a video arcade. It really has everything you could ever want.

You can secure your cabin and find out more at endcruise.com

The post Yellowcard, Mayday Parade & More Announced For Emo’s Not Dead Cruise 2027 appeared first on Rock Sound.

There’s a cold remoteness that resonates throughout black metal’s complex and not always pleasant history. It’s often the music of isolation, and many of the genre’s most identifiable characteristics – high-pitched screams, brisk tempos and coarse recording qualities – possess an innate relationship with absence; of light, company, temperature, and in the most macabre of cases, hope.

These are sweeping generalisations, but given that Winterfylleth share their name with an old english word for October – a month typified by impending nightfall, morning frost and Halloween – this alignment with the stereotypically bleak milieu associated with black metal is an easy reach.

The Manchester band’s latest album, the ninth of their twenty year existence, is called ‘The Unyielding Season’. The titular season could be the month of their namesake, or it could be a reference to the grim epoch of existence humanity currently occupies. Either way, a cursory reading would conclude that Winterfylleth’s ‘The Unyielding Season’ is exactly what could be expected of a 21^st century black metal album.

This is not always the case, though, as is apparent from the opening song’s stoic lyrics. Vocalist Chris Naughton declares: “Give strength to all, this lonely hour” as ‘Heroes of a Hundred Fields’ begins the record by traversing six-minutes of grandeur with more than a hint of pomp. There are a few moments like this, where Winterfylleth stray just enough from their genre’s core to engage the disinterested. That said, there’s likely little about ‘The Unyielding Season’ that will entice those who are not already fans of black metal.

That’s because, much like with the eight albums that precede ‘The Unyielding Season’, Winterfylleth remain both loyal to black metal’s stylistic mainstays and consummate in the execution of their performances. The band’s two-decade career is like that of a faithful co-worker, who’s head-down professionalism earns them less overt praise than is deserved, but a quiet and widespread approval nonetheless. It all means that gaining new fans may be challenging, but the already converted will remain thoroughly engaged.

None of this, however, should detract from the creativity and borderline scholarly smartness inherent to ‘The Unyielding Season’. When Sir Philip Sidney wrote ‘The Countess of Pembroke’s Arcadia’ to entertain his younger sister, little did he know that his 16^th century novel would be adapted quite so coherently five centuries later into ‘Echoes In The After’, a composition Winterfylleth were inspired to write following the infamous felling of a tree at Sycamore Gap on Hadrian’s Wall.

There’s instrumental creativity here too, like when Simon Lucas’ imperious drumming hijacks ‘A Hollow Existence’ to constitute a percussive riff above the swirling ribbons of guitars, collapsing as they do upon their overlapping selves into swathes of weighty ambience.

So enveloping is Winterfylleth’s noise wall that each song’s runtime frequently exceeds six minutes, as moments pass with a near meditative sensation. The expansiveness works given the morbidity of the title track, the despondency of ‘In Ashen Wake’, and the album’s general longing for hopefulness in times of despair. These songs trash and toil through the darkness, yearning for positive resolution.

It is for this reason that ‘Unspoken Elegy’ is a welcome diversion from the more challenging subject matter. What is effectively an interlude led by guitar and cello passages that are complementary to one another, the instrumental is something that is world-weary – heavy, in a different sense of the word.

Winterfylleth need to remain fluid in their instrumental choices too, as the comparatively gentle ‘Unspoken Elegy’ – in contrast to the riff-centric ‘Towards Elysium’ – ensures the latter’s crunchy guitars excite all the more vivaciously.

Even within this more groove-driven style, however, the use of atmosphere remains Winterfylleth’s greatest strength. Many of the standout moments here are the most instrumentally hedonistic, when epic sprawls of sound splinter into a blazing forest of chilling gales.

Which leads to the elephantine riff in the room, with Winterfylleth concluding ‘The Unyielding Season’ with a cover of Paradise Lost’s ‘Enchantment’. By eschewing atmosphere for stoner riffs, the band deliver on what is largely the album’s only major misstep, creating a conclusion that is unfortunately unwieldy and strangely unkempt.

Otherwise, Winterfylleth remain ever-consistent by demonstrating a well-balanced display of devotion to black metal’s transcendent qualities, and to showing a consistent interest in novel ideas, even if that interest is from afar. ‘The Unyielding Season’ is both stylistically on-brand and built upon unnerving lyrics, grandiose builds and the smallest scintilla of optimism for these unyielding times.

BEN WILLIAMS

National treasures The Darkness have announced a celebration of the very best of their chart-topping, award-winning, platinum-selling catalogue on their forthcoming UK arena tour in December 2026. The shows promise an awe-inspiring, spandex-clad, rip-roaring stomp through some of the most iconic rock songs in history. Their largest headline tour in 20 years will see some […]

The post The Darkness Announce 2026 Arena Tour Will Celebrate Best Of Greatest Hits & Fan Favourites appeared first on ROCKPOSER DOT COM!.

Our favourite spandex-clad rockers The Darkness have just announced they’re heading back out on the road for their biggest headline run in twenty years. Set for December 2026, the tour is being billed as a celebration of the band’s best bits, spanning over two decades of chart-topping anthems and fan favourites. Tickets are on sale … Continue reading The Darkness announce massive 2026 UK arena tour

March 26th, 2026, marks the 50th anniversary of ‘Sad Wings of Destiny‘ in the US (March 23rd in the UK)—the landmark 1976 album that helped define the sound and ambition of heavy metal. Widely regarded as one of the most influential records in the genre’s history, it continues to inspire generations of musicians and fans […]

The post Judas Priest’s ‘Sad Wings of Destiny’ Marks 50 Years—Exciter Records To Release Anniversary Editions appeared first on ROCKPOSER DOT COM!.

Defying Decay’s Jay Poom Euarchukiati walks us through the fourteen tracks that make up their daring and dramatic third album.

The Requiem: A Bipolar Nightmare

“We open this record the way an opera opens — with an overture, something that builds before a single lyric is heard. There’s a flute solo at the start with this distinctly Asian quality; that’s our culture in there, even if most people won’t catch it first listen. But listen for the viola solo at the end — viola is the instrument nobody takes seriously, it never gets a moment, and this one’s for every person who’s never been given a platform.”

Built to Fall

If you’ve played Dark Souls, you already understand this album — the final boss Gwyn lights himself on fire trying to hold on to something that’s already dying, and it only makes everything worse. That’s the world. Everything humans build is built to fall, every empire, every system, and the cycle just keeps repeating. When the arrangement strips back the way it does here, the voice has nowhere to hide — and that’s the point.

The Law 112: Secrecy and Renegades

I’m not going to explain this one — the ambiguity is the whole point, and the lyrics were written so anyone could be saying them from any side. What I will say is we didn’t spend a single penny on advertising, and the BBC still came calling. Sometimes you don’t need a budget. You just need to say something people already feel.

RX Regicide

This is the one. Royal Blood energy, Kellin Quinn from Sleeping With Sirens on vocals, and a bassline under the chorus that hasn’t left my head since we recorded it. We played it live once before it was even released and the crowd was already singing the hook back at us — they didn’t even know the name of the song yet. If you’re going to play one track from this record today, make it this one.

Pale

Think Bohemian Rhapsody as a reference point — I know how that sounds, and I’m not claiming I got anywhere near it, but that’s genuinely what I was reaching for. The structure breaks every rule: the second verse is built from a melody I originally wrote as a chorus, and there’s a bridge that changes time signature completely. It’s a piece of music I want people to experience as a whole — not just skip through.

21 Stitches

Nu-metal at heart with this electronic shuffle running through it — the video is a Fight Club homage, which tells you everything about the energy we were going for. Every time we play this live a circle pit opens without fail. ‘I’m just finding ways to get back to when I felt good and alive.’ Most people know exactly what that means.

Clouds

My attempt at a proper pop song — what made the Violette Wautier collaboration click was finding out she grew up on Fall Out Boy too, so despite coming from completely different worlds, we had the same musical language. My dad’s 1970 Cadillac Eldorado is in the video — he bought it in America, shipped it back to Thailand, I fixed it up myself, and fifty years later it ends up in a music video. I still can’t fully explain what that means to me.

Meaningless!

This started as a Blackpink parody — I always wondered what K-pop would sound like if it was genuinely heavy, so I leaned into all the flexing and showing off, which is exactly why it’s called Meaningless. But the chorus is where it turns: ‘Even if my words seem meaningless, it feels like I’m carrying the weight of this world tonight.’ Music that sounds like it means nothing can still carry everything.

Prelude: A Peaceful Sleep

This is the orchestral intro to Debris cut into its own track — partly so you can breathe before what’s coming, but mostly because I wanted fourteen tracks and not thirteen. I was born in the Year of the Rat; in Chinese culture, the number four sounds close to the word for death, but for me it’s lucky. If you want to skip straight to Debris, press fast forward.

Debris

This is the track for anyone who’s woken up and immediately felt like the world is too loud. It’s about watching from the outside — the noise, the media, the hysteria that never quite adds up to anything. ‘Am I afraid of the world? I’m not afraid of their words.’

Last Reply

My dad always told me my music was too heavy for him — so when I was writing this, I sat with him and played the chorus on acoustic guitar, quietly, and he said he thought it was good. He passed away before I could show him the finished version. It’s a song about the moment just before something falls apart for good — but that’s also what it means to me now.

Inside These Lies

The oldest song on the record — written in 2017, and when I finished the demo and posted it on social media, the news broke that Chester Bennington had died. It’s the most Linkin Park-influenced thing I’ve ever written and I’ll never be able to separate those two things. When someone asked where ‘you did it to your fucking self’ came from, I said: this song is about putting out this whole album.

System of Sinners

This album was going to be called System of Sinners for a long time — so this track is really the original heartbeat of the whole record. I wrote it with our drummer Mark, and there’s something about writing with him that just pulls the aggression out immediately; it’s one of the most physically intense things we play live. The lyric ‘take revenge then make amends’ is the whole tension of the song in six words — two completely opposing instincts sitting right next to each other, unresolved. That’s not a mistake. That’s just honest.

Hide & Seek

Seven versions over several years — the original was a Deftones track and the final version ended up somewhere closer to Bon Iver, but the lyrics and melody never changed once, which is how I learned they were always the only things that mattered. We filmed the video on the same hillside they used for Skyfall in Glencoe, Scotland — one camera, no lighting, nothing like anything we’d made before, because the song deserved something that felt as exposed as it sounds. It’s about a close friend who seems to have everything figured out from the outside but is still chasing something they can’t quite name.

The post Defying Decay ‘Synthetic Sympathy’ | Track By Track appeared first on Rock Sound.