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[Album artwork by Lena Richter]

“Nostalgia is probably overrated, at least the most common notion of it, the poignant sense that ‘what was’ is somehow inherently better than ‘what is’. It’s a lie of which we are well aware, if we’re honest, and which we willingly allow. Logic says it can’t be true that all the best times preceded real and measurable progress, and yet we cling to the past. No tangible aspect of the past, though. What we yearn for is The Past. Nebulous, ephemeral. The particulars of those golden olden days for which we pine aren’t actually the point of nostalgia, after all. It’s the feeling. A deep and personal remembrance of goodness that serves as an anchor in an uncertain present. An apparently experience-based evidence that it can all be good again.”

That’s the opening paragraph that our very own Lone Watie used to open his 2019 write-up of In Another Time, the debut from NY hard rockers Tanith. I think he nailed it, and I will now admit to spending a solid amount of time thinking about how people that did not actually exist during a targeted nostalgic era end up tapping into its spirit so mightily. I suppose it’s because everyone is capable of imagining / conjuring ‘better times’, particularly amidst ‘harder times’, and our past is an easier target because the notion of comforting familiarity is a vital ingredient for nostalgia’s success. Plus, our collective obsession with nostalgia ensures that virtually every tangible aspect of any given era will never be forgotten. In other words, you can absolutely pull off being a 25 year-old Sweathog in 2026 and actually make it believable if you have the dedication and resources. Don’t get caught carving your initials into your desk.

Probably pretty clear where this is headed.

Trinity of Suns is essentially a love letter to that golden stretch on music’s timeline where hard rock very intuitively shifted into metal. That obviously includes the NWOBHM, but mostly that scene’s more fantastical face in lieu of the bands that hauled a heap of punk into the design. Accordingly, expect loads of aged metal riffs here, but also an equal emphasis placed on a myriad of ‘70s hard rock bands that understood the potency of mythical escapism and folk elements, and whose album artwork looked like covers torn from an array of classic 70s’ DAW Books. Bands like Uriah Heep, Wishbone Ash, Rush, BÖC, Sir Lord Baltimore, et al.

So, yes, clearly the members of Lynx have found themselves haunted by nostalgia, the world’s true ‘friendliest ghost’ (get in the trap, Casper, you absolute wanker), and the results produce a charming ‘modern throwback’ snapshot of a bin of estate sale LPs that once belonged to an individual the rest of the neighborhood likely assumed was a pensioned sorcerer. How does that separate Lynx from the near endless amount of other bands doing similarly in the modern age? Well, it doesn’t, really, but the whole of Trinity of Suns feels classic without sounding outright dusty in a dexterous sort of way that verifies the band is notably proficient at songwriting, which is clearly the key. So, instead of going missing amidst a gaggle of two-bit mimics, this album sets up Lynx as possible tour buddies alongside other throwback specialists such as Hällas, Phantom Spell and, as it happens, Tanith.

“Oppressive Season” delivers an ideal illustration the band’s legitimacy. The track is a hot rocker that jumps from the gate with a slightly proggy proto-metal swagger that conjures the best years of Sweden’s Witchcraft, followed by a terrifically catchy NWOBHM riff about 30 seconds in that’s lifted to the sky on the wings of the accompanying melodic fret run. The chorus is as potent as it is catchy, and the majority of the song’s rear half is dominated by a series of super fun and highly enthusiastic lead barrages. New singer / synth player (synthist?) Amy Zine is a wonderful addition to the overall sound, which sets the stage perfectly for the following statement:

Trinity of Suns stands as one of the more significant advancements / progressions from one album to the next that these ears have heard in some time, and that’s coming from someone who enjoyed the band’s debut, 2021’s Watcher of Skies.

On the whole, though, I would confirm that Zine’s presence leaves the most blunt and impressionable fresh stamp, as hers is a voice with a much wider range that’s better suited for shifts in pace and temperament. So, when things push a more folky mood—the stark and psychedelic “Seven Days of Darkness,” for example—she nails the whole Wicker Man vibe. And when it’s time to really belt it out, she has the pipes necessary to fortify the classic metal riffing when things are at a full gallop.

While Zine’s presence behind the mic is justifiably underscored, vocal duties are actually shared with Janni, which only intensifies the Tanith comparisons. (This is a very good thing, mind you.) And as mentioned above, and further akin to Tanith, Lynx is down for mixing things up across the album’s full 40 minutes. We get a whiff of Hällas’ triumphant “Above the Continuum” with the notably epic “Voyager,” a song that opens Trinity of Suns with a gloomy, portentous midsection that features a booming voice cautioning of a world “once prosperous and thriving, now hardened into a frigid sphere of glass”; there’s the brighter, more playful romp of “Stranger In the Sky” that quickly brings classic Rush to mind; and you’ve got darker, moodier numbers like the title track, where a wonderful bubbling bass takes center stage to provide the crux of the song’s scoot:

If I could alter one thing—and it’s a minor quibble coming from the heart of a classic progressive hard rock nerd—it would be a suggestion to stretch out that closing track. Let Zine’s synth and some leads lift, drift and stray a bit more to really escalate the drama at the album’s conclusion. Of course, it’s also worth noting that the track already manages to run over 8 minutes, but it also feels… primed and ready for an even longer and more theatrical finish.

Just how essential an album like Trinity of Suns ends up being for you clearly swings on how heavily invested you happen to be in all things nostalgia. I mean, there’s not exactly a dearth of great works actually born in the late ‘70s / early ‘80s right at your fingertips, as well as a superabundance of worthy emulators already warring for attention. But again, if you have an affinity for the crème de la crème modern throwback specialists such as Hällas, Phantom Spell, Tanith, et al. that almost seem as if the ghost of nostalgia seeks them out due to a level of veritable legitimacy, I think Lynx and Trinity of Suns will find a notably cozy spot in the sunshine of your life.

The post Lynx – Trinity Of Suns Review appeared first on Last Rites.

Formed in 1991, the Muffs centered around vocalist and guitarist Kim Shattuck, alongside bassist Ronnie Barnett and drummer Criss Crass. Shattuck had previously played in The Pandoras, bringing experience and a sharp songwriting voice into the new project. The group quickly became known for combining aggressive guitar work with tightly constructed pop melodies, a sound that set them apart within the Los Angeles punk scene. Their early recordings led to a contract with Warner Bros. Records, and in 1993 they released their self titled debut album The Muffs. The record introduced a fast, hook driven style anchored by Shattuck’s distinct

The post Complete List Of The Muffs Songs From A to Z appeared first on ClassicRockHistory.com.

Acclaimed South African singer-songwriter Steve Louw returns with a powerful new single, ‘Across The River‘, offering listeners a deeply evocative preview of his forthcoming album, ‘Traces of the Flood‘, set for release on May 15th, 2026. Released Friday, April 10th, the new single is available on all streaming platforms – here. Pre-order the new album […]

The post Steve Louw Announces New Single ‘Across The River’ From Upcoming Album ‘Traces Of The Flood’ appeared first on ROCKPOSER DOT COM.

PEACEVILLE ANNOUNCE NEWLY REMASTERED CD EDITIONS OF THREE ICONIC AT THE GATES ALBUMS SET FOR RELEASE ON 22^ND MAY

THE RED IN THE SKY IS OURS, WITH FEAR I KISS THE BURNING DARKNESS & TERMINAL SPIRIT DISEASE

ALL REMASTERED BY THE LEGENDARY DAN SWANÖ AT UNISOUND STUDIOS

Three landmark releases from Swedish melodic death metal pioneers At The Gates are set to return on 22nd May with newly remastered CD editions, bringing together a crucial era in the band’s groundbreaking early catalogue. Spanning their formative trilogy, these reissues capture the evolution of a band that helped define the Gothenburg sound and reshape extreme metal in the early 1990s.

This trio of reissues begins with their 1992 debut, ‘The Red in the Sky Is Ours’, a raw and innovative statement of intent originally released via Peaceville’s Deaf imprint. Emerging from the ashes of the band Grotesque, At The Gates introduced a uniquely intricate and brutal sound, elevated by unexpected elements such as violin arrangements. Widely regarded as a genre classic, the album’s intensity and originality – highlighted by standout tracks like ‘Kingdom Gone’ – set the blueprint for what would follow.

Their 1993 follow-up, ‘With Fear I Kiss the Burning Darkness’, marked a significant progression in both ambition and execution. Recorded at the legendary Sunlight Studios and produced by Tomas Skogsberg, the album expanded the band’s sonic palette with complex melodic structures, philosophical lyricism, and subtle black metal influences. A defining release for many longtime fans, it also features a guest appearance by Matti Kärki of Dismember.

Completing the set is 1994’s ‘Terminal Spirit Disease’, the band’s third album and a pivotal moment in their artistic development. Showcasing a more streamlined and immediate songwriting approach, the album balances aggression with accessibility, paving the way for the refined direction later heard on ‘Slaughter of the Soul’. Its dynamic and memorable compositions further cemented At The Gates’ status as leaders of the European death metal movement. 

EACH OF THESE EDITIONS IS PRESENTED ON JEWEL CASE CD WITH BOOKLETS FAITHFUL TO THE ORIGINAL RELEASES, AND ALL FEATURE NEWLY REMASTERED, BAND-APPROVED AUDIO BY RENOWNED PRODUCER DAN SWANÖ AT UNISOUND STUDIOS. PRE-ORDER HERE.

Formed in Gothenburg in 1990, At The Gates quickly rose through the ranks of the burgeoning Scandinavian death metal scene, forging a style that fused technical precision, melodic complexity, and uncompromising aggression. Across four influential studio albums before their initial split in 1996, the band established a legacy that would continue long after their reformation in 2007, both on stage and in the studio, until the recent passing of iconic vocalist Tomas Lindberg.

PEACEVILLE ANNOUNCE NEWLY REMASTERED CD EDITIONS OF THREE ICONIC AT THE GATES ALBUMS SET FOR RELEASE ON 22^ND MAY

THE RED IN THE SKY IS OURS, WITH FEAR I KISS THE BURNING DARKNESS & TERMINAL SPIRIT DISEASE

ALL REMASTERED BY THE LEGENDARY DAN SWANÖ AT UNISOUND STUDIOS

Three landmark releases from Swedish melodic death metal pioneers At The Gates are set to return on 22nd May with newly remastered CD editions, bringing together a crucial era in the band’s groundbreaking early catalogue. Spanning their formative trilogy, these reissues capture the evolution of a band that helped define the Gothenburg sound and reshape extreme metal in the early 1990s.

This trio of reissues begins with their 1992 debut, ‘The Red in the Sky Is Ours’, a raw and innovative statement of intent originally released via Peaceville’s Deaf imprint. Emerging from the ashes of the band Grotesque, At The Gates introduced a uniquely intricate and brutal sound, elevated by unexpected elements such as violin arrangements. Widely regarded as a genre classic, the album’s intensity and originality – highlighted by standout tracks like ‘Kingdom Gone’ – set the blueprint for what would follow.

Their 1993 follow-up, ‘With Fear I Kiss the Burning Darkness’, marked a significant progression in both ambition and execution. Recorded at the legendary Sunlight Studios and produced by Tomas Skogsberg, the album expanded the band’s sonic palette with complex melodic structures, philosophical lyricism, and subtle black metal influences. A defining release for many longtime fans, it also features a guest appearance by Matti Kärki of Dismember.

Completing the set is 1994’s ‘Terminal Spirit Disease’, the band’s third album and a pivotal moment in their artistic development. Showcasing a more streamlined and immediate songwriting approach, the album balances aggression with accessibility, paving the way for the refined direction later heard on ‘Slaughter of the Soul’. Its dynamic and memorable compositions further cemented At The Gates’ status as leaders of the European death metal movement. 

EACH OF THESE EDITIONS IS PRESENTED ON JEWEL CASE CD WITH BOOKLETS FAITHFUL TO THE ORIGINAL RELEASES, AND ALL FEATURE NEWLY REMASTERED, BAND-APPROVED AUDIO BY RENOWNED PRODUCER DAN SWANÖ AT UNISOUND STUDIOS. PRE-ORDER HERE.

Formed in Gothenburg in 1990, At The Gates quickly rose through the ranks of the burgeoning Scandinavian death metal scene, forging a style that fused technical precision, melodic complexity, and uncompromising aggression. Across four influential studio albums before their initial split in 1996, the band established a legacy that would continue long after their reformation in 2007, both on stage and in the studio, until the recent passing of iconic vocalist Tomas Lindberg.

South Arcade have released a new song, and it shows exactly why they are heading towards a huge headline show at Brixton Academy next year.

It’s called ‘SUPERMAN’, and it finds the band in real fighting spirit, pushing and pulling at expectations and delivering plenty of knockout blows. A sugary-sweet yet wonderfully vulnerable melody, drawing more from funky R&B than anything else, swiftly builds into an all-out cacophony of bruising bass and crushing riffs.

It’s an absolutely sensational move from the band, building on the foundations they have already laid whilst still offering up plenty of surprises and pit-spinning intent at the same time.

The band had this to say about what the track means to them, stating, “SUPERMAN is about being pushed past breaking point. All patience has tapped out, and you put the song on as your rage anthem. We found it funny how the verses are so chill, then it just suddenly goes crazy, which kind of summed up the feelings we wanted. When you’re sick of being the one who always holds it together, and something has pushed you over the edge.” 

As mentioned, the band will be taking over London’s iconic Brixton Academy early next year. February 27 to be exact. They announced the show whilst on stage at the O2, serving as support for 5 Seconds Of Summer.

Tickets for the show are on sale right now.

The band had this to say about the announcement, exclaiming, “We can’t quite believe we’re saying it but we’re so excited we can announce our crazy plan to headline Brixton O2 Academy! It’s such a cool venue and one we’ve seen so many amazing bands in so to be able to step onto that stage still doesn’t quite make sense to us! Now we just need to find some more huge spray cans…”

South Arcade are on the cover of Rock Sound right now as one of our Stars of 2026. In a new interview, vocalist Harmony Cavelle and bass guitarist Ollie Green reflect on the key moments of 2025 and their ambitious plans for another 12 months of mayhem.

You can pick up a digital copy of their cover from right here.

The post South Arcade Share Prickly New Track ‘SUPERMAN’ appeared first on Rock Sound.

Posted on April 10th 2026, 10:45a.m.

Off the back of their sold-out concert at London’s Islington Garage on Saturday April 11th, and winning the “Young Artist of the Year” award for the second year in a row at the UK Blues Awards 2026, Kent blues rock trio The Zac Schulze Gang are pleased to announce their 2027 UK Headline Tour which […]

The post The Zac Schulze Gang Announce February & March 2027 UK Tour appeared first on ROCKPOSER DOT COM.

Emerging UK hard rock outfit Death Warmed Up are primed to breakout with the release of their blistering debut album ‘Wildcard‘, arriving Friday 17th April. The band have also just released their electrifying new single ‘Inside My Mind‘. Listen to the single – here Formed in 2023 and hailing from Nottingham, England, Death Warmed Up deliver loud, […]

The post Death Warmed Up Release New Single/Video ‘Inside My Mind’ appeared first on ROCKPOSER DOT COM.