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What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself¹—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

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Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

The post Aletheya – Chance to Reborn Review appeared first on Angry Metal Guy.

“I think, over the past few years, I have set quite a high standard. Now I’m determined to keep that going. To still have the energy to work, that is a real blessing.” Wise words indeed. The legendary Robin Trower shows no sign of slowing with Shine, his eighth studio album in the last decade.

Robin Trower – Shine

Release Date: 25 September 2026

Words: Paul Hutchings

But Robin Trower is not content with churning out the same stuff. Yes, there is a distinction about his playing that makes him instantly recognisable, but Shine is another beautifully crafted and performed release that resonates deeply. 

Distinctive also is applicable to long-standing vocalist Richard Watts, whose husky, smoked delivery alongside Robin’s effortless guitar (and bass) and drummer Chris Taggard’s chilled anchoring combine to make Shine another record to admire and enjoy. 

It is incredible to think that Robin has, as the accompanying bio reminds us, lived through most of the rock ‘n’ roll era. Raised in Southend-on-Sea in the ’40s and ’50s, he was there for Elvis and his sideman Scotty Moore, as well as icons like B.B. King. “I just remember hearing the bends and vibrato on 3 O’clock Blues and thinking, ‘How the hell is he doing that?’” 

His career is well documented, and I have had the pleasure not only of speaking to the man but reviewing several of his recent works, including the recent One Moment In Time: Live in the USA and 2025’s Come And Find Me.

You could just read those reviews. The superlatives that I chose then are applicable here on Shine. There is a swell of blues that mixes up with the funk and soul that is always part of Robin’s playing and compositions. 

Opener The Missing Piece smoothly introduces just short of 40 minutes of music that simply washes over you. There is no rush, no high-impact shredding, just the classic style of Robin and his Fender Stratocaster.

Cool, relaxed, yet somehow still vital and relevant. “The lyric is about looking back as an older person – or in my case, a very old person – and missing what was so wonderful about being young,” he says. “You know, the sweet bird of youth has already gone.”

Time may be passing, but Robin and his band can still make music that makes you smile. Reflections of his career are laced throughout the album. Occasionally you are drawn back to 1974’s Bridge Of Sighs, the stadium-filler of an album that I still play regularly. Such is his playing that it is impossible not to drift back to that classic release.

Yet Shine is as contemporary as it needs to be. The title track is superb, a bit of his magnificent playing in the shape of his ‘power-soul’ style. He describes it as the most positive track on the album, something desperately needed in such dark days.

But Robin is determined not to be brought down. “I agree with people that it’s a very dark time. But I don’t want to make gloomy music. I think that most of these songs are positive”.

Love by Any Other Name goes a bit darker without getting too deep, whilst there is a deep funk riff on Live Your Time, a message about making the most of your life. Both are gloriously delivered, with some of Robin’s best riffs on the latter (his words, not mine). 

Faith hangs in the air, a gentle and mellow piece that once more allows Watts to show his quality. And Truth sees rising British vocalist Jess Hayes take the mic with ease. “I heard Jess some years ago when she opened up for us, and she’s an absolutely dynamite singer,” says Robin. 

The longest track on the album closes things down. It’s Not Time procures a slow, instrumental section as it eases to a close. It is the final opportunity to experience a master at work and a fitting final song on an album that once again is full of gems. 

For now, it’s time to appreciate another stunning body of work. “Really, if I have a gift,” Robin says, “it’s probably that I come up with ideas. Ideas for songs, ideas for lead work. Certainly, that’s what keeps me going. It’s just so exciting to see something blossoming into a new song.”

Long may it continue. 

Robin Trower releases Shine on 25 September 2026 via Provogue/Artone Label Group. For more details, visit lnk.to/RobinTrower

The post Robin Trower Shines Again With Another Masterful Album first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Descendents’ Bonus Fat returns November 13, 2026, via Org Music. Collecting the band’s earliest recordings, the eight-song release

Chicago will welcome a major alternative rock lineup when Weezer brings The Gathering Tour to United Center on September 22, 2026. 

Joining Weezer are The Shins and Silversun Pickups, giving fans three established bands in one arena-sized event.

Running across 32 North American cities, The Gathering Tour puts Weezer at the center of a packed night of guitar-heavy music. 

Chicago’s date gives local fans a chance to hear songs tied to several eras of alternative and indie rock, with each band bringing a different style to the bill.

Weezer Headlines With Hits and New Music

Weezer enters the Chicago show with a set built around major hits, fan favorites, rarities, and newer material. Years of releases give the band plenty of options, allowing each performance to move between radio staples and songs aimed at longtime listeners.

Early shows on The Gathering Tour have featured 26 songs, giving Weezer enough space to cover several periods in its catalog without relying on only its biggest singles.

A set of that size also gives the band room to shift tone, moving between loud guitar songs, slower material, and stripped-back arrangements during the same performance.

Several of Weezer’s most recognizable songs have already appeared during recent tour dates:

• “Buddy Holly”
• “Say It Ain’t So”
• “Island in the Sun”
• “Beverly Hills”
• “Hash Pipe”
• “Undone – The Sweater Song”
• “The Good Life”
• “El Scorcho”

Those selections cover some of Weezer’s most familiar material and give casual fans several major singalong moments. 

Longtime listeners also have reasons to pay close attention, since less frequently played songs have returned to the set.

“Keep Fishin’,” “No Other One,” “Lonely Girl,” and “Slob” have all surfaced during recent performances. 

Their presence adds more variety to the show and keeps the setlist tied to more than the band’s biggest commercial releases.

New material also has a visible place in the concert. “Shine Again,” released April 1, 2026, opened Weezer’s Sacramento tour date, placing a current song at the front of a performance filled with older favorites.

Opening with newer material gives Weezer a chance to introduce its current work before moving into songs that many fans have known for years. That structure helps the concert feel active and current instead of functioning only as a retrospective set.

Why the Chicago Show Matters

Weezer brings 1990s power pop and arena-sized hits, The Shins represent a major part of 2000s indie rock, and Silversun Pickups add heavier guitars and a more atmospheric style.

Few arena bills pair three alternative rock acts with catalogs this recognizable. Chicago also has an active concert calendar, with music events in Chicago and nearby communities giving fans plenty of opportunities to catch live performances throughout the year.

Weezer centers its performance on hooks and singalong choruses, The Shins lean toward melody and detailed arrangements, while Silversun Pickups bring louder textures and sharper shifts in intensity.

That contrast gives the night a natural progression. Silversun Pickups can open with heavier guitar work, The Shins can shift the mood with more melodic material, and Weezer can close with a long set packed with familiar songs.

Several details make the Chicago date especially notable:

• United Center hosts the show on September 22, 2026.
• A 7:00 p.m. event time has been listed.
• The Gathering Tour runs September 8 through October 24.
• Chicago falls early in the tour schedule.

Fans who mainly attend for Weezer still get substantial performances by two established supporting acts. 

Listeners who know The Shins or Silversun Pickups better also have a full Weezer set waiting at the end of the night.

United Center gives all three acts space for a larger production than a club or theater date. 

Bigger staging, arena sound, and a large crowd can make familiar songs hit differently, particularly tracks built around loud guitar sections or mass singalongs.

Chicago’s stop ultimately brings several periods of alternative rock into one evening without making any single act feel secondary. 

Familiar songs, less common selections, newer Weezer material, and possible collaborations give the September 22 show enough variety to keep the full night moving.

Full-Band Return for The Shins

Fans of 2000s indie rock have another major reason to arrive early. Recent tour appearances marked The Shins’ first extended full-band performances in four years, making their slot more significant than a typical opening appearance.

James Mercer and his band bring a softer and more melodic style to the lineup. 

Their songs rely heavily on vocal phrasing, layered guitars, and carefully shaped arrangements, creating a noticeable change in mood after Silversun Pickups and before Weezer.

Recent sets have included several songs closely tied to The Shins’ catalog:

• “New Slang”
• “Caring Is Creepy”
• “Australia”
• “Simple Song”
• “Sleeping Lessons”
• “Gone for Good”
• “Heartworms”

“New Slang” and “Caring Is Creepy” give longtime listeners material connected to the band’s early years, while “Simple Song” and “Heartworms” bring later releases into the set.

That range gives The Shins enough material to make their performance feel substantial rather than brief.

A full-band setup also gives songs such as “Sleeping Lessons” more room to build in an arena. 

Larger guitar sections and gradual changes in volume can work especially well in a venue such as United Center, where quieter passages can lead into much bigger finishes.

James Mercer’s presence adds another recognizable voice to a bill already packed with familiar songs. 

Instead of functioning as a short lead-in to Weezer, The Shins have enough established material to carry their own section of the night.

Silversun Pickups Bring Heavy Guitar Energy

Silversun Pickups open the night with a louder and more atmospheric sound. Fuzzy guitars, forceful bass lines, and sharp shifts in volume make the group a strong choice for starting an arena show built around alternative rock.

Recent performances have included “Well Thought Out Twinkles,” “Panic Switch,” and “Lazy Eye.”

“Panic Switch” brings a tense, fast-moving pulse, while “Lazy Eye” gives the group one of its biggest audience moments. 

“Well Thought Out Twinkles” adds another familiar guitar-heavy track and helps establish the tone before later acts take over.

Fans arriving at United Center early will get more than a short warm-up set. Silversun Pickups have enough well-known material to make the opening portion of the show feel like a full concert segment.

Connections between the acts have also appeared onstage. Nikki Monninger, bassist for Silversun Pickups, joined Weezer during an earlier tour date for three songs:

• “We Might as Well Be Strangers”
• “Go Away”
• “I Just Threw Out the Love of My Dreams”

Those appearances created a direct link between the opening act and the headliner. Similar moments are not guaranteed in Chicago, but earlier dates show that the tour can include collaborations that are not part of a standard three-band schedule.

Cross-band appearances also give fans another reason to watch each set closely. 

Musicians appearing with one another can make individual tour stops feel less predictable, especially when several established bands share the same bill.

Summary

Chicago fans can expect much more than a short opener followed by a standard Weezer set. 

Silversun Pickups bring intensity at the start, The Shins add a strong indie-rock section, and Weezer closes with a long set covering major hits, rarities, acoustic moments, and new music.

September 22 should give United Center one of its biggest alternative rock nights of the year, with three bands sharing a bill built around recognizable songs and decades of material.

Posted on September 18th 2026, 12:01pm

“Woke Up with a Knife,” the new single from Tender Ender, the moniker of Swiss artist Thomas Schmidiger, takes shape

New Orleans guitarist, singer and songwriter Eric Johanson has unveiled his new single, “Alligator Smile.” The track is the second single from his forthcoming album, The Open Bayou, due October 16 via Johanson’s Levee Ward Records.

“Alligator Smile” follows the August release of “Shake the Fever” and continues Johanson’s move toward a heavier sound while maintaining his blues and Louisiana roots. The track centers on a stripped-down power trio approach, incorporating elements of heavy rock, slide guitar and swampy grooves.

Johanson produced The Open Bayou himself, recording the album over three days while on tour with bassist Will Repholz and drummer Jake Gartenstein. Bill Skibbe, whose credits include Jack White, The Raconteurs and The Kills, mixed and mastered the record.

Throughout the album, Johanson expands on his blues foundation with fuzz guitar, slide and improvisation. The material moves between heavy rock, Louisiana-influenced grooves and more atmospheric territory while retaining the guitar-driven sound that has defined his previous work.

The Open Bayou follows Johanson’s 2023 album, The Deep and the Dirty, which reached No. 1 on Billboard’s Blues Albums chart. He followed that release with Live in Mississippi in 2025.

“Alligator Smile” arrives September 18, with The Open Bayou set for release October 16.

The post Eric Johanson unveils “Alligator Smile” appeared first on Blues Rock Review.

Rising Los Angeles rockers Dirty Honey, have announced details of their third album. Catch My Butterfly is the follow-up to 2023’s Can’t Find the Brakes, and will be released via Dirt Records on January 15 next year.

The band have also released the first two songs from the album, the thumping anthem Lights Out and the poignant Butterfly.

“Lights Out was the first banger,” says guitarist John Notto. “It’s one of those rare times when I got the solo right on the demo! It’s only one flavour of the album though. There’s so much more.”

Butterfly, meanwhile, finds the band in reflective form. “There are addiction issues in my family,” says frontman Marc LaBelle. “I tried to write from a different perspective – either that of a father to an addicted child or the family member of an addict.

“In this scenario, you’re so overcome with worry about whether or not your loved one is alive or dead at any given moment. My thought was, ‘If you don’t get high, there’s no way that you’re going to catch this person who is so beautiful in your eyes, but so broken at the same time.'”

Catch My Butterfly was produced by John Feldman, frontman of LA punks Goldfinger, who has previously worked with Avril Lavigne, Yungblud, Blink-182, The Struts, Biffy Clyro and many more.

“I’m very proud of our perseverance,” says Labelle. “Any band has to really survive to make a third record. We’ve made mistakes in the studio, gotten over past regrets, lived more, and become better songwriters. All of those things snowballed into Catch My Butterfly.” “

“Catch My Butterfly shows the width of what we can do as musicians and songwriters,” added Smolian. “We’re no one-trick pony.”

Catch My Butterfly is available to pre-order now. Full tracklist below.

Dirty Honey formed in Los Angeles in 2017, and released their debut, self-titled album, in 2021. They’ve supported Guns N’ Roses, the Black Crowes, The Who, Kiss, Rival Sons and Alter Bridge, and in 2022 co-headlined the Young Guns American tour with Mammoth WVH.

Dirty Honey – Catch My Butterfly tracklist

1. Lights Out
2. If It’s Over
3. Numb
4. Wanderlust
5. Good For You
6. Butterfly
7. Good Times Gone
8. American Lies
9. Poison
10. Sweeter
11. No Way Out
12. New Blood
13. Lullaby
14. I Should’ve Known

It's nothing like the finished product that ended up on 1965's 'Rubber Soul.' Continue reading…

Anxious return today with their new single “Secret Weapon.” The single follows last month’s single “Don’t Move” and the two