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Forty years can change a lot, and in the case of these five bands, those years have almost changed their entire lineup! Continue reading…

The massive Dutch symphonic metal band Epica recently announced that their own festival, Epic Metal Fest, will make a comeback in 2027.

After more than 10 years, we’re thrilled to announce the resurrection of EPIC METAL FEST on June 4th, 2027, in Maastricht! 🔥🤘

As part of @southofheavenfestival, we’ll be curating the Friday line-up and headlining with a special 25th Anniversary set, alongside a handpicked selection of bands chosen personally by us.

Today, we’re excited to announce the first two bands joining us next year: @lacunacoilofficial and @adinfinitumofficial! 
And this is just the beginning… Stay tuned, as more acts will be revealed soon!

Don’t miss this special day of metal, friendship, and celebration on June 4th & stay for the rest of South of Heaven Festival for even more highlights! 

🎟️ Get your tickets now, and we’ll see you in Limburg, Epicans!

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• 24.09.27 | Lotto Arena | Antwerpen, BE
• 25.09.27 | Jahrhunderthalle | Frankfurt, DE
• 26.09.27 | Forum Karlin | Prague, CZ
• 29.09.27 | PreZero Arena Gliwice | Gliwice, PL
• 01.10.27 | Admiralspalast | Berlin, DE
• 03.10.27 | Teatro Arcimboldi | Milano, IT
• 04.10.27 | The Hall | Zürich, CH
• 06.10.27 | Royal Albert Hall | London, UK *SOLD OUT
• 08.10.27 | Le Zenith | Paris, FR
• 10.10.27 | Palacio Vistalegre | Madrid, ES
• 11.10.27 | Sagres Campo Pequeno | Lisbon, PT

EPICA – UPCOMING TOUR DATES

• 29.01.27 | Royal Theatre Carré| Amsterdam, NL *SOLD OUT
• 30.01.27 | Royal Theatre Carré| Amsterdam, NL *SOLD OUT
• 31.01.27 | Royal Theatre Carré| Amsterdam, NL *SOLD OUT
• 03.03.27 | Montevideo Music Box | Montevideo, UY
• 06.03.27 | Movistar Arena | Santiago, CL
• 07.03.27 | Estadio Malvinas Argentinas | Buenos Aires, AR
• 09.03.27 | Palacios de los Deportes | San Jose, CR
• 11.03.27 | Chamorro City Hall | Bogota, CO
• 20.11.27 | Vibra | São Paulo, BR

Tickets and VIP upgrades are available from epica.nl/tour

The post Epica announce the resurrection of Epic Metal Fest in 2027 first appeared on FemMetal – Goddesses of Metal.

There’s something reassuring about knowing that growing older doesn’t necessarily mean growing up. Or calming down. Or giving up music that sounds like someone throwing a filing cabinet down a flight of stairs.

Just ask NIXD.

The Chicago/Texas trio traces its origins back to 2003, when American Heritage joined British noise merchants The Art of Burning Water for a UK tour. More than two decades later, members of those bands are making an unholy racket together again, fueled by enduring friendships and a shared love of all things loud and abrasive.

Featuring drummer/vocalist Duffy, guitarist Shellhamer, and bassist/vocalist Bocek (also formerly of American Heritage and Ghosts and Vodka), NIXD aren’t particularly interested in easing anyone into their latest offering. We Don’t Belong Here, released in May through xCHCx Records, packs nine tracks into under 15 minutes, drawing on crust, hardcore, thrash, and the wonderfully unpleasant noise rock of the early AmRep era.

Recorded live in Chicago, the album is the band’s third release in as many years, suggesting that geographical separation and the accumulated indignities of middle age haven’t done much to dampen their enthusiasm.

That brings us to “Midlife Christless,” a title that practically introduces itself. But don’t go looking for existential crises or religious revelations. The song is actually about something rather more familiar: people who refuse to take responsibility for their actions, and the friendships that eventually become casualties of their behavior.

“This song is primarily about victims… Both victim culture and people who blame others for their shortcomings, as well as intentional victims of friendship taken advantage of,” explains Duffy. “We all have that friend who never owns up, takes advantage of others, fucks you or someone else over, and blames others. This is about that person. Lack of accountability.”

As for the accompanying video, premiering exclusively through Decibel today, the band handed creative control to a trusted friend.

“We just gave the song to our friend Yeva and she did her magic based on what she felt fit the vibe of the song,” Duffy says. “We are happy to have friends like that.”

And the title? “Song title is insignificant to the lyrics. We always just pick titles that make us laugh.”

There’s no calculated reinvention here, no attempt to be anything other than what they’ve always been: musicians who still find plenty of joy in creating something together, even when that something sounds like the world coming apart at the seams.

And frankly, who could argue with that?

Watch the “Midlife Christless” video below, and pick up We Don’t Belong Here on Bandcamp.

The post Video Premiere: NIXD – “Midlife Christless” appeared first on Decibel Magazine.

The post Led Zeppelin Finally Licensed “Stairway To Heaven” For A Movie appeared first on Stereogum.

Only a few days remain until Italian symphonic power metal outfit Temperance releases its new studio album. Entitled “Arcani”, the record drops this Friday, October 16, via Napalm Records. Today’s fourth single, ”The Fool’,” serves as the final harbinger.

The track begins with an instrumental intro that paves the way for vocalist Kristin Starkey’s versatile vocal performance. As her male counterparts join her on vocal duties, the song takes on new dimensions while remaining a cohesive and captivating piece of art. Uplifting melodies and symphonic grandeur showcase the trademark sound of Temperance,which will soon be brought to stages across Europe as the band tours with labelmates Kamelot and Exit Eden from November 1 onwards! Please see below for the full list of dates.

Marco Pastorino about “The Fool“:
‘‘The final single leading up to Arcani, ‘The Fool,’ has a rather unique story behind it. I received these lyrics from Kristin, and built the entire song around them. The perfect opening track for this new full- length album, it blends many of the signature elements that define TEMPERANCE: from epic choruses and soaring guitar melodies to a neoclassical acoustic break. Get ready to discover ‘The Fool’ card and one of the longest tracks of the record.“

Watch the Official Music Video for “The Fool” NOW:

Structured around the divinatory practice of Tarot, each of the new songs on “Arcani” (October 16, 2026 via Napalm Records) follows a different card of the Major Arcana deck. Pouring their passion into 13 spellbinding songs with even catchier symphonic melodies than before, Temperance‘s bright future takes shape on “Arcani”.
 
Though not a direct concept album, Temperance position themselves as masters of narrative with their Tarot-themed album, “Arcani”. Their symphonic grandeur rising to new heights on their memorable eighth album, the Italian five-piece knows how to make their trademark alternating vocalists stand out. With the most personal lyrics of their career, the lines recorded in group sessions binding the band together even more, Temperance present a strong melodic piece of work, filled with power, passion, and perspective.
 
Marco Pastorino about “Arcani”:
“We are finally here to announce our new album, Arcani! 13 incredible new songs that we have worked tirelessly on over the past year, and we are confident they will become an essential part of our live show. Epic symphonic arrangements, harmonies woven through our three distinctive voices, huge metal guitar solos, and a fantastic production! After our adventures around the globe supporting the magical world of Hermitage, we have returned with something magical once again. Welcome to the world of Arcani.”

Get Your Copy Of “Arcani” NOW!

Their first trump comes in the shape of “The Fool”. Just like the card has uniqueness in Tarot through being unnumbered or assigned 0, “Arcani”’s opening song takes a special role through the lack of a subtitle. Paving the way for the album, Temperance have their trademark grand sound take shape in uplifting melodies and powerful duet vocals. For “The Magician: Into the Fire”, male vocals take the lead, the blazing anthem further unfolding the potential of the magical record. The emotive mid-tempo track “Death: Right Before We Die”, introduced by gentle keyboard melodies and fleshed out by impressively high notes, draws from a personal experience the band members shared. “The Tower: Lean Into Fear” takes the form of a hard rock song—an entirely new facet in Temperance‘s musical universe. Its Tarot paragon being a symbol of chaos and catastrophe as well as liberation, it is the perfect song for Kristin Starkey to show her roaring versatility. “The Devil: Sin, Sin, Sin” picks up on its predecessor’s dark undertone, using it for a dramatic composition with an incomparably rousing chorus in which the Italian masters of modern melodic metal truly shine. Following, the quintet unveils a quasi-self-titled track with “Temperance: Forgiveness”. Temperance turn the virtue card into a well-balanced, encouraging song, claiming, “Another day is coming”, before presenting theirs with the triumphant “The Chariot: Alla Ricerca dell’America” (Engl. “in search of America”), which adds both Italian lyrics, and a Swedish line honoring Starkey’s chosen home, as well as more operatic singing to “Arcani”. The collectively catchy “Justice: Shame & Glory” portrays a similarly victorious sentiment, before the hopeful “The Star: Surrender Control” has Temperance move back to contrasting their vocalists. Introduced by electronic melodies, “Wheel of Fortune: Come and Call Me” comes in fast and forceful—fierce change once again matching the symbolism behind the eponymous card. Much calmer, “The Moon: The Man of Moonlight” harmonizes hidden danger through enticing instrumentation and strong vocals, before the intense “The Hanged Man: Petrichor” turns from acoustic guitars to heavy extraordinaire, from metal to opera, pulling together the numerous different styles the five-piece is capable of executing without the “pitture infamante”’s sacrifice. “The World”, much like “The Fool”, stands out in its title, but also as a song itself: The closing track is an acoustic guitar track with predominantly female vocals, mirroring the Major Arcana’s final card in its feeling of success. With it, Temperance wrap up “Arcani” with a special feeling of overarching finality while still looking ahead.

“Arcani” tracklisting:

1. The Fool
2. The Magician: Into the Fire
3. Death: Right Before We Die
4. The Tower: Lean Into Fear
5. The Devil: Sin, Sin, Sin
6. Temperance: Forgiveness
7. The Chariot: Alla Ricerca dell’America
8. Justice: Shame & Glory
9. The Star: Surrender Control
10. Wheel of Fortune: Come and Call Me
11. The Moon: The Man of Moonlight
12. The Hanged Man: Petrichor
13. The World

“Arcani” will be available in the following formats:
1-LP Gatefold (Inkspot Black/Red), incl. LP-Booklet – strictly limited to 100 copies (Napalm Shop exclusive)
1-LP Gatefold (Black), incl. Lyric Sheet
1-CD Digipak + 1-CD Jewelcase Instrumental Album      
1-CD Digipak
Digital Album

Temperance Live 2026
  
KAMFEST
31.10.26 NL – Tilburg / O13 (Kamelot, Blackbriar, Exit Eden, Temperance)
 
Supporting KAMELOT’s Dark Asylum World Tour, Europe Pt. 1
w/ EXIT EDEN

• 01.11.26 UK – London / O2 Sheperd’s Bush Empire
• 03.11.26 UK – Manchester / O2 Ritz Manchester
• 05.11.26 DE – Oberhausen / Turbinenhalle
• 06.11.26 CH – Pratteln / Z7 Konzertfabrik
• 07.11.26 FR – Lyon / La Rayonne
• 08.11.26 DE – Stuttgart / LKA
• 10.11.26 PL – Krakow / Klub Studio
• 11.11.26 PL – Warsaw / Progresja
• 13.11.26 HR – Zagreb / Boogaloo
• 14.11.26 HU – Budapest / Barba Negra Red Stage
• 15.11.26 RS – Belgrade / Hangar
• 17.11.26 IT – Trezzo sull’Adda / Live Club
• 18.11.26 IT – Padova / Hall
• 20.11.26 FR – Toulouse / Metronum
• 21.11.26 ES – Barcelona / Razzmatazz 1
• 22.11.26 ES – Madrid / Sala La Riviera

Temperance are:
Kristin Starkey – Vocals
Michele Guaitoli – Vocals
Marco Pastorino – Guitars/Vocals
Luca Negro – Bass Guitar
Marco Sacchetto – Drums

The post Temperance release new single, “The Fool” + video first appeared on FemMetal – Goddesses of Metal.

Daryl Soar is a lifelong Metalhead who, as a musician and writer, has spent years on both sides of the barrier. He is the vocalist and guitarist with Raptorgeist and loves sharing his passion for all things Metal. Whether it is an established name or a band playing its first handful of shows, he believes […]

Artio have shared a new track titled ‘Bloodless (-1)’, which serves as a bridge between their compelling ‘Soul Rot’ era and whatever is on the near horizon.

A cathartic outburst of emo intent, post-hardcore forward-thinking and dramatic intentions, it truly is everything that the band have come to be renowned for, but with extra flashes and flairs that they have picked up along the way.

The band had this to say about what it represents for them:

“This song is for anyone who’s been betrayed, backstabbed or let down by someone they thought could be trusted and refuses to beg to be believed anymore. A trauma response can be valid until it becomes another cage to lock yourself in.”

You can check it out alongside a beautifully constructed video, bringing the ideals of the track to life via fallen angels, blood-soaked surroundings and painstaking attention to detail.

The song is taken from the band’s new EP ‘Soul Rot Forever’, an accompaniment and an expansion on the album ‘Soul Rot’ which was released earlier this year.

Here is one such example, an orchestral version of ‘Algae Bloom’, featuring a plethora of Leeds-based musicians.

Artio are on the cover of the latest issue of Rock Sound, as part of our British Summer group. You can pick up a copy right now from SHOP.ROCKSOUND.TV

The post Artio Share Stunning New Track ‘Bloodless (-1)’ appeared first on Rock Sound.

These ten songs span three decades of blues rock hits that crossed over into Top 40 radio to become staples on classic rock playlists. Every so often, a blues rock track slips its leash and ends up in the mainstream by punching through boundaries with unforgettable grooves, larger-than-life guitar playing, and pure attitude. From Cream’s late 1960s psychedelic blues rock breakthrough to the 1990s swagger of the Black Crowes’ version, these ten songs show exactly how the blues kept rewriting the rules of rock.

Free – “All Right Now”

“All Right Now” became a massive international hit for Free when it hit the airwaves as a single from the band’s third album, Fire and Water, released in 1970. Paul Kossoff’s unforgettable blues rock riff drove the song, complemented by Paul Rodgers’ soaring, soul-drenched vocals. “All Right Now” became a permanent fixture on classic rock radio and was a defining mainstream rock anthem of the formative 1970s.

George Thorogood & the Destroyers  – “Bad to the Bone”

“Bad to the Bone” was both the lead single and the title track of George Thorogood and the Destroyers’ fifth studio album, released in 1982. It became a classic rock radio staple after an MTV music video featuring Thorogood and Bo Diddley in a poolroom showdown. Then, in 1991, the song was resurrected when it was used in Terminator 2 as the entrance music for Arnold Schwarzenegger, featuring its instantly recognizable slide guitar riff. The song has pure blues swagger that echoes Muddy Waters’ “Mannish Boy.” Despite never making it onto the Billboard Hot 100 and only reaching No. 27 on the Billboard Mainstream Rock chart, it became one of the most enduring blues rock anthems of its genre.

Bad Company – “Can’t Get Enough”

“Can’t Get Enough” was released as a single in 1974 by Bad Company from their self-titled debut album. The song was written by guitarist Mick Ralphs, who initially offered it to Mott the Hoople when he was a member of that band. It’s a driving, no-frills track with a gritty blues foundation, hard-rocking power, and Paul Rodgers’ commanding vocals. “Can’t Get Enough” helped propel the album to No. 1 and achieve multi-platinum status, making it a perennial classic rock radio staple.

The Black Crowes – “Hard to Handle”

“Hard to Handle” appeared on Shake Your Money Maker, the Black Crowes’ debut album, released in 1990. The song was originally co-written and performed by Otis Redding prior to his tragic death in 1967. The Black Crowes’ version turns the soul classic into a swaggering blues rock anthem fueled by thick guitar riffs and Chris Robinson’s raw, blues-soaked howl. The single hit the Billboard Hot 100 and became a rock radio staple, proving once again that when blues rock is delivered with the right mix of grit, melody, and rock attitude, it can become mainstream.

ZZ Top – “La Grange”

“La Grange” by ZZ Top was co-written by the trio of Billy Gibbons, Dusty Hill, and Frank Beard for their 1973 album, Tres Hombres. The song is a raw, John Lee Hooker-inspired boogie that features one of the most instantly recognizable riffs in blues rock history. The track features Gibbons’ fuzzy, snarling guitar and the rhythm section’s driving shuffle, with lyrics about an infamous brothel located near La Grange, Texas. Mainstream FM radio began playing “La Grange” in the 1970s after it reached No. 47 on the Billboard Hot 100, exposing listeners to the no-frills power of Texas electric blues.

Derek and the Dominos – “Layla”

“Layla” was released in 1970 on Eric Clapton’s Derek and the Dominos album, Layla and Other Assorted Love Songs. The song is a passionate and enduring statement about Clapton’s unrequited love for English model and photographer Pattie Boyd, the wife of his good friend George Harrison. The song is built around Clapton’s searing guitar riff, coupled with Duane Allman’s slide guitar and Jim Gordon’s dramatic piano coda. For mainstream radio, a shortened single version was released, reducing the seven-minute album performance to under three minutes, and became a massive radio hit.

Stevie Ray Vaughan and Double Trouble  – “Pride and Joy”

“Pride and Joy” appeared on Stevie Ray Vaughan and Double Trouble’s debut album, Texas Flood, released in 1983. The song became popular after climbing to No. 20 on the Billboard Mainstream Rock chart and earning a place in heavy rotation on album-oriented rock radio. Vaughan wrote the song and performed it with fiery guitar solos and gritty vocals, backed by his dynamic rhythm section featuring bassist Tommy Shannon and drummer Chris Layton, delivering pure, raw electric blues. The arrival of Stevie Ray Vaughan helped spark the blues revival of the 1980s, when synthesizers, new wave, and hair metal bands dominated rock radio.

The Allman Brothers Band  – “Ramblin’ Man”

“Ramblin’ Man” was the Allman Brothers Band’s commercial breakthrough when the song became a Top 10 radio hit and reached No. 2 on the Billboard Hot 100 in 1973. “Ramblin’ Man” was written and sung by guitarist Dickey Betts and appeared on the band’s Brothers and Sisters album, which sold a million copies and reached No. 1. Guest musician Les Dudek’s guitar dueled with Betts’, and together with the band, they fused their deep blues rock roots with a bright, country-tinged melody.

Cream – “Sunshine of Your Love”

“Sunshine of Your Love” appeared on Cream’s second album, Disraeli Gears, which was released in 1967. The song is pure blues rock, built around Jack Bruce’s bass riff, echoed by Eric Clapton’s guitar and accompanied by Ginger Baker’s distinctively intense drumming. “Sunshine of Your Love” was Cream’s biggest hit, peaking at No. 5 on the Billboard Hot 100, earning gold certification, and becoming a cornerstone of classic rock radio. Cream’s blues-based riff foreshadowed the sound of everyone from Led Zeppelin to early heavy metal bands, proving that blues-based rock could cross over into the mainstream.

Led Zeppelin – “Whole Lotta Love”

“Whole Lotta Love” was recorded and released by Led Zeppelin in 1969 as the opening track on their second album, Led Zeppelin II. Willie Dixon won a lawsuit in the 1980s claiming that “Whole Lotta Love” was inspired by Muddy Waters’ 1962 recording of “You Need Love.” It was released as a single in the U.S. and reached No. 4 on the Billboard Hot 100, becoming Led Zeppelin’s highest-charting hit. The track is sexually charged, and lyrically, it follows Willie Dixon’s version, but musically, it’s light-years away, transforming a classic blues template into something heavier and more explosive.

The ten songs listed prove that the blues never stayed confined to the limitations of its original environment in backrooms and juke joints. Each song is an amplified distillation of the genre’s grit, emotion, and improvisational fire. These ten songs helped bring the blues to a wider audience more effectively than the genre could have achieved on its own. These hard-hitting blues rockers crossed over into mainstream rock and helped lay the foundation for hard rock, heavy metal, and classic rock.

The post 10 Blues Rock Songs That Went Mainstream appeared first on Blues Rock Review.

Posted on October 14th 2026, 2:11pm