More than five years after he died, John Prine‘s works still attract a lot of listeners’ attention, his works commanding respect and admiration, and there’s no better illustration of this point than the release of not one but two of … Continue reading
The post John Prine’s Vault Opens For Record Store Day appeared first on DMME.net.
As they gear up for the release of their forthcoming album Through the Hourglass, Witch Ripper announced a U.S. tour that’s going to kick off pretty soon.
Set to kick off on May 1 in Vancouver, BC, Canada and coming to a close on June 14 in Seattle, the tour will see Witch Ripper make stops all throughout the Western U.S. This all will take place after the band celebrates the release of their new album with a special release show on April 3 in Seattle.
Speaking of the upcoming tour, vocalist Curtis Parker explains what fans can expect.
“How to sum up Witch Ripper on tour? Big energy, big riffs, and four guys who could not be happier playing music. We can hardly wait to hit the road this spring! Nothing feels better than a long string of shows while the band is firing on all cylinders. Come hang out and see this traveling nerd circus in all its glory. We promise all the cosmic time traveling songs you can handle! Hugs free of charge!”
Through The Hourglass will be released on April 10 via Magnetic Eye Records, but you can preorder your copy today. As for their upcoming tour, you can check out the full list of dates below.
WITCH RIPPER “Through the Hourglass” US TOUR 2026
03 APR 2026 Seattle, WA (US) The Sunset Tavern
01 MAY 2026 Vancouver, BC (CA) The Cobalt
22 MAY 2026 Bellingham, WA (US) The Shakedown
30 MAY 2026 Missoula, MT (US) M-80 Chicken
31 MAY 2026 Boise, ID (US) The Olympic
01 JUN 2026 Salt Lake City, UT (US) Aces High Saloon
02 JUN 2026 Denver, CO (US) The Crypt
03 JUN 2026 Santa Fe, NM (US) Desert Dogs
04 JUN 2026 Phoenix, AZ (US) The Blooze Bar
05 JUN 2026 San Diego, CA (US) McGuffies
06 JUN 2026 Los Angeles, CA (US) The Escondite
08 JUN 2026 San Francisco, CA (US) Bottom of the Hill
09 JUN 2026 Chico, CA (US) Naked Lounge
10 JUN 2026 Reno, NV (US) Pizzava
11 JUN 2026 Eureka, CA (US) The Siren’s Song Tavern
12 JUN 2026 Roseburg, OR (US) The Rosebud Theater
13 JUN 2026 Portland, OR (US) Twilight Cafe and Bar
14 JUN 2026 Seattle, WA (US) Hidden Hall
The post Witch Ripper Announce U.S. Tour appeared first on MetalSucks.
Vince Clarke was the founding Depeche Mode member who wrote most of the songs on that group’s debut album and then left immediately, then going on to release the great synthpop duos Yaz and Erasure. Neil Arthur is another veteran of great UK synthpop duos; he’s the singer for reunited ’80s veterans Blancmange. Benjamin Edwards,…
The post Vince Clarke, Neil Arthur, & Benge Launching New Group Doublespeak With Covers Album appeared first on Stereogum.
Panopticon has never lacked for scope, but “The White Cedars” feels especially evocative; a piece that races across mist-shrouded melancholy and rises to spiritual suspension.
Drawn from the forthcoming Det hjemsøkte hjertet, the track unfolds across eight minutes of sweeping black metal and carefully layered atmosphere. Charlie Anderson’s string arrangements weave melodic counterpoint around Austin Lunn’s intense gravity—unresolved, searching—before careening into guest vocalist Jan Even Åsli (Vemod), his voice arriving to carry us skyward: a final, luminous coda that reframes everything that came before.
There’s a sense of inevitability to the way the song moves—not toward resolution, but toward realization. That tension carries through the single as a whole, which also features a reimagined version of “Stream Keeper,” originally written as part of Lunn’s beloved earlier project Seidr alongside W. Crow (Wheels Within Wheels). Composed in 2007 in the aftermath of one of Lunn’s parents’ passing, the song has long held a special place in his body of work.
Revisited years later, “Stream Keeper” is reshaped through Panopticon’s current lens, evolving into a hypnotic blend of blackened atmosphere and brooding post-metal. It retains the emotional gravity of its original form while aligning seamlessly with the sonic and thematic landscape of Det hjemsøkte hjertet, making this single feel less like a preview and more like a continuation—another piece of a much larger, deeply personal arc.
Below, Austin Lunn reflects on the role “The White Cedars” plays within that narrative:
“The White Cedars” is the moment in the album’s narrative when the solitary protagonist confronts the consequences of his chosen life. He reflects on his decision to withdraw from others, avoiding the risks and vulnerabilities that come with emotional bonds — the very risks his parents and grandparents once embraced, which allowed him to exist in the first place. Reaching the end of his life without meaningful connections, he recognises the cost of that path. The song becomes a lament for what might have been, and a meditation on the chances we never take.”
Listen to “The White Cedars” below:
The post Track Premiere: Panopticon – “White Cedars” appeared first on Decibel Magazine.
Animals As Leaders are heading back to Europe this summer, lining up shows that will see the instrumental titans dominate the festival circuit.
The post ANIMALS AS LEADERS Announces European Festival & Club Dates appeared first on Metal Injection.
Canned Heat – “On the Road Again” (1968)
There’s a hypnotic quality to this track that keeps it from aging. The droning groove and repetitive structure pull the listener into a trance-like state, something that modern blues and indie artists still try to replicate. Alan Wilson’s high-pitched vocal delivery gives the song a unique identity that stands apart from typical blues rock performances. The minimalist arrangement allows each element to breathe, which helps preserve its freshness decades later. It feels less like a product of its time and more like a timeless mood piece. There’s a reason this song has been covered by artists like Jeff Healey and Philip Sayce.
Jonny Lang – “Still Rainin’” (1998)
Jonny Lang brought a youthful energy to blues rock in the late 90s, and “Still Rainin’” remains a standout. His vocal performance carries a depth that feels beyond his years, while the guitar work stays tasteful and controlled. The production leans modern but avoids the pitfalls of late-90s overproduction. The song’s emotional core is what gives it lasting power. It still resonates because it feels genuine rather than manufactured 28 years after its initial release.
Joe Bonamassa – “The Ballad of John Henry” (2009)
“The Ballad of John Henry” stands as one of Joe Bonamassa’s defining tracks and a turning point in his career. Built around a dark, driving riff, the song carries a weight and intensity that immediately grabs attention. Bonamassa’s guitar tone is thick and commanding, cutting through the mix with a modern edge while still rooted in blues tradition. The track’s arrangement blends heavy blues rock with a cinematic feel, giving it a larger-than-life presence that continues to resonate. Even years later, it still sounds powerful, proving why it remains one of his most recognizable and enduring songs.
Buddy Guy – “Feels Like Rain” (1993)
Buddy Guy delivers a deeply emotional performance that still connects decades later. The song leans into a slower, more reflective groove, allowing each note to carry weight. His guitar work is subtle but effective, complementing the vocal rather than competing with it. The production has a warmth that holds up well in today’s listening environment. It’s a track that proves blues rock doesn’t need to be flashy to remain powerful.
Robert Cray – “Smoking Gun” (1986)
“Smoking Gun” blends blues with a clean, modern production that has aged incredibly well. Robert Cray’s guitar tone is crisp and controlled, allowing the groove to shine. He is the definition of smooth. The song’s structure feels tight and purposeful, avoiding any unnecessary excess. Its polished sound actually works in its favor decades later. It still fits comfortably alongside contemporary blues releases. Cray’s understated phrasing proves that feel doesn’t require flash, and that restraint gives the track lasting appeal. The rhythm section stays locked in throughout, creating a smooth, driving pocket that keeps the song moving without ever feeling forced.
Rory Gallagher – “Bad Penny” (1979)
“Bad Penny” captures Rory Gallagher at his most accessible without sacrificing the grit that defined his sound. The opening riff locks in immediately, carrying a groove that still feels fresh and engaging decades later. Gallagher’s guitar tone is raw and punchy, cutting through with a natural bite that avoids any sense of overproduction. His vocal delivery adds a laid-back confidence, giving the song a personality that sticks with you. The track’s straightforward structure is part of its strength, allowing the feel and groove to take center stage.
Free – “Fire and Water” (1970)
“Fire and Water” proves just how powerful restraint can be in blues rock. Paul Kossoff’s guitar work is minimal but incredibly expressive, letting each note carry weight rather than relying on flash. The groove sits deep in the pocket, giving the song a steady, almost hypnotic feel that still resonates today. Paul Rodgers delivers a vocal that is both soulful and commanding, adding to the track’s timeless appeal. The stripped-down production is a big reason it hasn’t aged, allowing the feel and chemistry of the band to shine through.
Eric Clapton – “Old Love” (1989)
From the Journeyman album, “Old Love” showcases Eric Clapton at his most emotionally expressive, building from a restrained slow burn into a powerful blues rock performance. Penned by Clapton and Robert Cray, the song’s gradual progression allows the tension to develop naturally, making the payoff feel earned rather than forced. Clapton’s guitar work is subtle early on, then opens up with a soaring solo that still stands among his most memorable. The tone is warm and clean, letting every note speak clearly without unnecessary embellishment. There’s a timeless quality in both the arrangement and performance that keeps it from feeling tied to any specific era. Even in 2026, it still resonates as a deeply human and authentic blues rock moment.
Kenny Wayne Shepherd Band – “Blue on Black” (1997)
“Blue on Black” remains one of the most recognizable blues rock songs of the modern era, built on a haunting groove that still feels as powerful today. The track’s slow, deliberate pacing gives it a sense of weight, allowing every note to land with impact. Kenny Wayne Shepherd’s guitar work is restrained but effective, serving the song rather than overpowering it. The vocal delivery adds to the atmosphere, giving the track a moody, almost hypnotic quality. Its simplicity is what gives it lasting appeal, proving that feel can carry a song further than complexity. It still sounds timeless and deeply resonant.
John Mayer – “Belief” (2006)
Featured on Continuum, “Belief” blends blues rock with a modern, groove-driven approach that still feels current nearly two decades later. The track is built around a tight, understated rhythm that gives Mayer plenty of space to layer in expressive guitar work. His phrasing is tasteful and controlled, focusing on feel rather than flash, which gives the song lasting appeal. The production strikes a perfect balance between polish and warmth, avoiding the dated sound that affected many mid-2000s releases. Mayer’s vocal delivery adds a reflective tone that complements the track’s message without overpowering it. “Belief” still sounds smooth, relevant, and effortlessly cool.
The post 10 Blues Rock Songs That Still Sound Fresh in 2026 appeared first on Blues Rock Review.