Bachman-Turner Overdrive is taking the No Speed Limit tour global in 2027, adding six dates across Australia and New Zealand after their U.S. run. Continue reading…
The Metallica‘s ‘M72 World Tour’ is making its way across North America next year with newly announced 12 shows, featuring Limp Bizkit and Avatar as support. Tickets go on sale Friday, September 25. Read moreâŚ
Rammstein – Live In Mexico City will arrive in cinemas worldwide on 4 November 2026 for a limited time, capturing the German band’s monumental stadium production on the big screen.
The feature-length concert film documents Rammstein’s three-night stand at Mexico City’s 65,000-capacity Foro Sol stadium on 1, 2 and 4 October 2022. Nearly 200,000 fans attended the shows, which brought the band’s first North American stadium tour to a spectacular close.
Filmed in 4K, Rammstein – Live In Mexico City features stadium-sized performances of songs from across the band’s career, including Armee der Tristen, Deutschland, Du Riechst So Gut, Sonne, Du Hast and a rare performance of Te Quiero Puta!.
The film was directed by Paul Dugdale, whose previous credits include projects with The Rolling Stones, Taylor Swift, Elton John and Adele.
Rammstein Live In Mexico City Concert Film Heads To Cinemas
The Mexico City concerts formed part of Rammstein’s 2019-2024 global stadium tour. For the 2022 North American leg, seven Boeing 747 aircraft and almost 210 crew members transported the band’s vast pyro-theatrical production across the continent for 12 open-air dates.
Rammstein – Live In Mexico City will screen worldwide from 4 November, with the exception of France, where it opens on 6 November, and Japan, where screenings take place on 5 and 18 November. The film is distributed internationally by Trafalgar Releasing, with Filmwelt Distribution handling Germany, Austria, Switzerland, Liechtenstein, Alto Adige and Luxembourg.
A live album will follow on physical and digital formats on 20 November.
Tickets go on sale on 23 September, when full cinema listings will be published at rammsteinmexico.live.
Steven Wilson will release his ninth studio album, Requiem For A Village, through Fiction Records on 6 November 2026. The title track is available now alongside a live Village Session video. Where Wilson’s eighth album, The Overview, explored the scale and isolation of deep space, Requiem For A Village turns towards a tiny, unknown corner of the British Isles. Its story leaves the modern world behind for a village existing beyond a defined time and place.
Wilson adopted an equally unconventional recording process. Avoiding AI and corrective studio technology, he used organic instrumentation, analogue synthesisers and the unexpected results of imperfect performances.
The album was recorded with regular collaborator and multi-instrumentalist Randy McStine, drummer Russell Holzman and vocalist Katherine Priddy. It also features narration written by Andy Partridge of XTC and voiced by David Tennant.
“I wanted to get back to a kind of music where you can hear the metaphorical thumbprints,” Steven Wilson said. “Doubling down on the human gestures and flaws in the music, stuff that can’t be created using software.”
He added that the approach led him to play instruments he did not fully know. “For example, using only analogue synths with all their unpredictability, or not having instruments perfectly in tune. But it also led to me picking up the violin, the oboe, or trying my hand on the drums, playing things I don’t really know how to play but getting something out of them that inspired me in ways I didn’t expect.
“Approaching the music with a sense of innocence and seeing where it took me. And where it took me was to the village.”
The title track introduces this lost corner of Britain through flying drums, a driving bassline and scratchy guitars before opening into what the release describes as the soundtrack to an approaching apocalypse.
Requiem For A Village Track Listing
Swirl In A Lark’s Eye
Requiem For A Village
The Same River Twice
Now Departing
Hiraeth
On Chapel Slope
Murmuration
Curcus Fingerprint
A Basket Of Bees
Great Green Map
Wheel
The Old God Is Buried
Requiem For A Village will be available on CD, Blu-ray, 140g double black vinyl, double oxblood-coloured vinyl and as a box set containing two CDs and a Blu-ray disc in a 96-page hardback book. Limited signed CDs will be offered through Amazon, while HMV will carry a CD edition with exclusive packaging. Pre-order the album.
Wilson will preview the album’s influences with a DJ set titled Songs From The Village at The Social in London on 22 September. Proceeds from ticket sales will be donated to charity. He will also play two sold-out Royal Albert Hall concerts on 28 and 29 October with his band, the Parallax Orchestra and the Sansara choir.
FOR IMMEDIATE RELEASE
ILLUSIONS PLAY AND CURSED IN ETERNITY UNITE FOR BLEAK TWO-TRACK SPLIT EP DOOMED
Istanbul and Ankara’s dark metal forces trade musical and vocal roles across a haunting collaboration of doom, death, black metal and DSBM
Streaming here: https://band.link/2026doomed
Two of TĂźrkiye’s underground metal acts, Istanbul-based Illusions Play and Ankara-based Cursed in Eternity , have joined forces for Doomed , a two-track split EP that brings together atmospheric doom/death, black metal, melodic death metal and depressive suicidal black metal in a deliberately unconventional collaboration.
Released September 4, 2026, Doomed features two tracks, âAshen Skyâ and âAsh Beneath the Sun,â with each band contributing equally to the project. Rather than simply appearing alongside one another on a traditional split, Illusions Play and Cursed in Eternity created an intentional exchange of roles, with one band providing the music while the other takes on the lyrical and vocal performance. The roles are then reversed for the second track.
The result is a release where two distinct identities become intertwined, creating a bleak and immersive journey through despair, isolation, melancholy and inner decay.
ILLUSIONS PLAY
Formed in Istanbul in 2011, Illusions Play has developed a sound rooted in atmospheric doom/death metal while incorporating elements of black metal, haunting melodies and crushing heaviness. The band’s music shifts between deep growls, piercing screams and ethereal vocal passages, creating an atmosphere steeped in darkness and emotional weight.
Following their second full-length album, Empire of Desolation , released in 2024, Illusions Play continued to push toward an increasingly dark and atmospheric direction.
The band has shared stages with acts including Shape of Despair, October Tide and Psychonaut 4 , while also appearing at Portals Metal Fest and Doom Over Tbilisi .
For Doomed , Illusions Play enters into a creative exchange with Cursed in Eternity, contributing one half of a collaboration built around musical and vocal role reversal.
CURSED IN ETERNITY
Formed in Ankara in 2019 , Cursed in Eternity is a doom-based DSBM project blending bleak atmospheres and melancholic songwriting with lyrics performed in both Turkish and English.
After a period of silence, the band returned with their latest studio album, Rise of Silence , released in February 2026. The album marked a new chapter for Cursed in Eternity, leading directly into the band’s collaboration with Illusions Play on Doomed .
The split features âAshen Skyâ and âAsh Beneath the Sun,â continuing Cursed in Eternity’s exploration of darkness, despair and emotional isolation while introducing a new collaborative dimension to their sound.
The band is also scheduled to return to the stage on October 3, 2026 , alongside October Tide and Illusions Play .
A TRUE 50/50 COLLABORATION
At its core, Doomed is a genuine 50/50 collaboration between Illusions Play and Cursed in Eternity , not a conventional guest feature.
Each band contributed equally, with the project’s defining concept built around an exchange of creative roles. One band creates the music while the other handles the lyrics and vocals, before the process is reversed on the second track.
That exchange allows both groups to step outside their familiar boundaries while retaining the character of their respective sounds. The result is a two-song release that feels connected by atmosphere and intent while giving each band a distinct presence.
From the crushing weight of doom/death to the bleak atmosphere of black metal and DSBM, Doomed brings together two sides of TĂźrkiye’s underground metal landscape for a release built around darkness, collaboration and creative reciprocity.
Tracklist:
Ashen Sky
Ash Beneath the Sun
Artists: Illusions Play à Cursed in Eternity Release: Doomed Format: Two-Track Split EP Release Date: September 4, 2026 Country: Tßrkiye Cities: Istanbul / Ankara Genres: Atmospheric Doom/Death ⢠Black Metal ⢠Melodic Death Metal ⢠DSBM
For Fans Of: Swallow the Sun, Shining, Thy Light, Paradise Lost, Psychonaut 4
Doomed by Illusions Play, Cursed In Eternity
Connect:Â
https://linktr.ee/illusionsplay
Official Contact: Vitaliy Petrenko (Can Aydin) illusionsplayband@gmail.com
A week ago, it might’ve been surprising to go see Hayley Williams and to hear Macklemore and Lukas Graham on the pre-show playlist. Now, it looks like a righteous statement of solidarity.
“Mi Jord”, the latest new single from GĂĽte‘s forthcoming studio record Sigil, has recently premiered online in the form of an official music video. Read moreâŚ
Big Big Train are preparing to hit the road on The Woodcut & Other Stories tour later this month, which will see them perform the entirety of their latest studio album across the UK & Europe. Earlier this year, the band played two acclaimed shows on board Cruise To The Edge 2026, and they are pleased to reveal a live recording of the track âLove Is The Lightâ featuring Hakenâs Ross Jennings on guest vocals.
Alberto Bravin says: âBack in March this year Ross played an acoustic solo set to open a warm-up show for us in Southampton before both we and Haken travelled to the USA to perform on board Cruise To The Edge. Iâve always been a Haken fan and we jumped at the opportunity to invite Ross to join us when we played Love Is The Light in Southampton. When I wrote the song originally I didnât envisage it as a duet but performing it with Ross worked brilliantly. Ross was then able to guest with us again at the first of our two shows on Cruise To The Edge. We felt that this performance of the song was particularly special and were keen to make it available to everyone. Enjoy!â
Ross Jennings comments: âThe moment I heard Judas Unrepentant from English Electric Part 1, I instantly became a Passenger on the Big Big Train and I’ve been on board for every station; every album; every up and down. After David Longdon sadly passed, I wondered if anyone could fill those big big boots. When Love Is The Light landed in my ears it was evident to me that Alberto was absolutely perfect for the band’s continuation. This track rapidly became a favourite of mine and a joy to watch live. Accepting an invitation to perform this song alongside Alberto and this incredible band was a no-brainer and an absolute pleasure for me. Something special was in the air on that Cruise performance and I’m so thrilled this âduetâ was captured!â
The band recently released a new Digital Deluxe Edition of Woodcut, complete with demos of each track from the album, as well as two acoustic tracks. Listen here:
https://bigbigtrain.lnk.to/Woodcut-DeluxeEdition-Album
Big Big Train will play a warm-up show on Thursday 24th September 2026 at Thornden Hall in Eastleigh, UK to kick off The Woodcut & Other Stories tour.
This will be the first of 19 shows across the UK and Europe this autumn where the band will play this yearâs acclaimed Woodcut album in full as well as over an hour of other material from their extensive back catalogue.
B.B. King was born on September 16, 1925, and died at the age of 89 in 2015. This would be his 101st birthday, and his legend has only grown since his passing. In 2025, his 100th birthday triggered events in Memphis, Tennessee, and Indianola, Mississippi, Joe Bonamassaâs Blues Summit, along with tributes, museum events and memorials. In 1997, I attended and reviewed a B.B. King concert in Portland, Oregon, but it didnât get published until now, 29 years later.
On Monday night, February 3, 1997, B.B. King played at the Roseland Theater in Portland, Oregon, to a sold-out, standing-room-only crowd that nearly lapped itself as it wound around the block waiting to enter for the second show of the evening. The earlier 7:00 PM show had just let out, and the theater was being cleaned and prepared for the next show. Upon entering the venue, the first thing that caught my attention was the attire of the security personnel at their various stations. The same people who were wearing T-shirts and blue jeans at the Hot Tuna and BoDeans shows a few months earlier were now all wearing suit coats, ties and dress slacks.
The show began at about 10:10 PM with Corey Harris opening. Harris, a Louisiana native, played solo. He sang a variety of traditional blues, gospel and original blues compositions while accompanying himself on dobro and acoustic guitar. One of the most notable things about his set was the intensity of his songs. I could see tears running down his cheeks during most of his numbers. His set ran 30 minutes.
The crew took the next half hour to set the stage for the main act. At 11:10 PM, B.B. Kingâs nine-piece orchestra, decked out in tuxedos, made its entrance. They played two instrumental numbers before âThe King of the Bluesâ appeared with Lucille in hand. The 71-year-old, multi-award-winning blues legend then proceeded to demonstrate the reason for his title during the next 1½ hours.
B.B. King
Throughout his set, he repeatedly told the crowd, âThank you so much!â for their applause and adulation. At one point during the set, a woman in the crowd tried to give B.B. a rose. When security tried to restrain her, King beckoned for them to allow her to pass. He took the rose, placed it in the neck of his guitar and played with it there for the remainder of the night.
After about 45 minutes, the horn section left the stage, and three chairs were brought out, as well as a small table and a glass of water. King took the glass of water, downed it and, after placing the empty glass on the table, sat down in the center chair. Leon Warren, his rhythm guitar player, and Michael Doster, playing bass, sat in the other two chairs, with Tony Coleman and Calep Emphrey Jr. on dual drum kits behind them. B.B. then told the audience that he wasnât tired but just wanted a change of pace. The stripped-down band then played blistering blues for half an hour before the rest of the band returned for the last 15 minutes of the show.
Throughout the night, King pumped out crisp, stinging guitar solo interludes on most songs. Other tunes were more dominated by his vocals. His entire set was devoid of any egotism, yet at the same time luxuriantly abundant in showmanship.
The songs he performed included various blues and R&B classics, including âRock Me Baby,â âWhy I Sing the Bluesâ and âNobody Loves Me but My Mother & She Could Be Jivinâ Me Too.â For his final song of the evening, King performed his trademark, âThe Thrill Is Gone.â Rather than do an encore, he stood at the edge of the stage and signed autographs for 15 minutes. During this time, the band played while two of Kingâs personal security people stood to his right and left. As the band played, one of the members repeatedly announced, âB.B. King, King of the Blues worldwide.â
