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  • Half Me Unleash Brand New Album ‘Dogma’ + Aussie tour Starting This Week

    German metalcore powerhouse Half Me have released their highly anticipated sophomore album ‘DOGMA‘, out today via Arising Empire. Delivering their most ambitious, aggressive and thought-provoking material to date, the band push their unmistakable sound to new extremes, combining crushing metallic hardcore, industrial influences, relentless grooves and raw emotional intensity into a devastating statement about the […]
  • Complete List Of Lee Brice Songs From A to Z

    Lee Brice Songs

    Lee Brice’s songs have long balanced the rowdy pleasures of contemporary country music with the emotional weight of family, memory, and loss. Raised in Sumter, South Carolina, he developed his musical interests while also playing football at Clemson University. After moving into the Nashville songwriting world, he helped write Garth Brooks’s chart-topping recording of “More Than a Memory.” His own career as a recording artist began with singles in the late 2000s, followed by the breakthrough success of “Love Like Crazy.” Brice’s 2010 debut album, Love Like Crazy, mixed spirited country rock with character-driven ballads. His second album, Hard 2

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

  • How Steven Wilson got a former Doctor Who to appear on his new album

    Steven Wilson has revealed how he persuaded former Doctor Who star David Tennant to appear on his new album.

    Tennant, who played the Tenth Doctor between 2005 and 2010, adds narration to the Porcupine Tree frontman’s ninth solo album, the folk horror-inspired Requiem For A Village.

    “In my head, I wanted an Irish or Scottish voice for it,” Wilson tells Prog. “My first thought was that [Scottish poet and humourist] Ivor Cutler would be perfect for it, but then I realised he was dead, so that made it a bit tricky.

    “I’d tried a few voiceover artists, but they sounded like they were reading a script,” he continues. “We needed someone with gravitas. I vaguely remembered seeing a photo a few years ago where David Tennant was wearing a Raven That Refused To Sing T-shirt. My manager contacted his agent and he came back straight away and said he’d love to do it.”

    Tennant was away filming, so Wilson talked to him on the phone and sent him the script of the narration. “Literally within 24 hours, he’d recorded it and sent it all back to me. I mean, I think I’ve got a pretty good work ethic, but that’s something else.”

    The narration for Requiem For A Village was written by former XTC frontman and semi-regular Wilson collaborator Andy Partridge, centres around the mysterious, eerie village at the heart of the album’s concept and the strange people and happenings that occur around it.

    “It encapsulates everything – the nostalgia, the question of whether the village really exists, and does it really matter?” says Wilson. “It’s about immersing yourself in this world, and the feeling of something beautiful yet a little bit scary, a little bit weird.”

    Requiem For A Village was partly inspired by ’70s folk horror kids TV show Children Of The Stones.

    “It’s an absolute classic and it was fucking terrifying,” says Wilson of the show, which was filmed around Avebury, Wiltshire, famous for its trio of Neolithic stone circles. “The story revolves around a kid who goes to live in a village with his dad, who is an archaeologist there to study a stone circle. It turns out that all the people in the village have this weird relationship with this stone circle. Without wanting to spoil it too much, it transpires that this stone circle has some kind of direct connection to alien life.

    “What appeals to me – and this comes back to the whole idea of the album – is that it’s a village in our country an hour away from here, but it exists in this little insular bubble of fucking weirdness. To me, something about that is the scariest thing ever: that places like this can exist without you really knowing.”

    Requiem For A Village is released on November 6. Wilson plays the Royal Albert Hall in London on October 28 and 29.

    Read the full interview with Wilson in the new issue of Prog, on sale now.

    Prog 174 on sale now online image

    (Image credit: Press/ Steven Wilson image: Kevin Westenberg)
  • Halestorm’s Lzzy Hale picks her five essential guitar albums

    “A great guitar album makes me want to pick up my guitar, crank my amp and play,” says Halestorm leader Lzzy Hale. “Not necessarily to learn a particular song; it’s more of an unquenchable desire to hear the break-up of the amp’s speakers, feel the strings press into my fingers and make my right hand bleed from the impact of chugging. A great guitar album fuels me with instant inspiration, leaving me with no choice but to grab an axe and write something.”

    What is your criteria for a great guitar album?

    “A great guitar album has to give me a certain kind of feeling. It’s more of an emotional connection to the tones and the way the riff moves your body. The guitar playing doesn’t have to be complicated – take any Neil Young record, for example. Even the simplest solos and riffs can have balls – and inspire you to write.”

    Do you sit down and try to learn riffs from guitar records?

    “In addition to my top five guitar albums, some other records that never fail to inspire me are Alice Cooper’s Schools Out, Metallica’s ‘Black Album,’ Holy Diver by Dio, Queens of the Stone Age’s Songs for the Deaf and Mastodon’s Once Around the Sun.

    Are there any guitar-oriented albums that you didn’t “get” at first, but they grew on you and went on to become favourites?

    “One guitar record I didn’t ‘get’ at first was Jeff Buckley’s Grace, but it’s only because, as a singer myself, I was overly distracted by his amazing voice. At first, I considered it more of a vocal album. But as I dug in, I realised that the man was an absolute genius on guitar.”

    Lzzy Hale’s Epiphone Explorer is available now. Below, Lzzy Hale reveals her five essential guitar albums.

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    Black Sabbath – Heaven and Hell (1980)

    “This album has never left my heart. Every time I listen to it, it moves me forward. These are the riffs that get stuck in your head and change your life.”

    Cinderella – Night Songs (1986)

    “Tom Keifer never gets mentioned in rock guitarist countdowns. I think he’s very underrated. There’s an art to writing a riff that complements a vocal melody. Tom is also an amazing slide player – he has that ‘heartbreak tone’ that literally stings your soul.”

    Neil Young with Crazy Horse – Everybody Knows This is Nowhere (1969)

    “You may not see this one on many guitar album lists either, but Neil Young is a huge influence in how I perform as a guitarist. There’s a real ‘I don’t give a fuck’ attitude in his approach to the guitar, along with a rawness that puts this picture in my mind of Neil just walking into a smoky bar at three A.M., plugging into whatever rig and just bringing the house down.”

    Soundgarden – Badmotorfinger (1991)

    “Another hugely underrated guitar album. Those riffs are present and ballsy, and they match Chris Cornell’s fervour on vocals. The Outshined riff is one of my all-time favourites.”

    Judas Priest – Sin After Sin (1977)

    “One of the band’s earlier records, Sin After Sin really displays the raw power of the famous Glenn Tipton-K.K. Downing guitar team. Dissident Aggressor is punishing, and Diamonds & Rust is timeless.”

    The original version of this feature first appeared online in September 2018.

  • Kacey Musgraves’s Tex-Mex Kiss-Off and 9 More Songs We’re Talking About

    Musgraves savors cross-border connections, Michael Kiwanuka explores loneliness, an Amy Winehouse anniversary arrives and more.
  • SNORLAX – Toxic Current

    SNORLAX is the solo project of Australian musician Brendan Auld. The Brisbane multi-instrumentalist blends the weight of death metal with an oppressive black metal atmosphere. Grindcore and hardcore have long been part of his sound, too. Following 2020’s II, The Necrotrophic Abyss arrived three years later, bringing dissonant guitar work and black metal elements further […]

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  • Joanne Shaw Taylor Releases New Album ‘The Trouble With Love’ & ‘Never Gonna Please ‘Em All’ Single

    British blues-rock guitarist and singer-songwriter Joanne Shaw Taylor has released her new studio album ‘The Trouble With Love‘, via Joe Bonamassa‘s Journeyman Records. Produced by longtime collaborator Kevin Shirley (The Black Crowes, Journey, Aerosmith), the 10-track collection finds Joanne exploring the beautiful chaos of the human heart, examining love in all its forms through some […]

    The post Joanne Shaw Taylor Releases New Album ‘The Trouble With Love’ & ‘Never Gonna Please ‘Em All’ Single appeared first on ROCKPOSER DOT COM.

  • SANTÙ Leave Us Breathless As Kasperia Shine At KK’s Steel Mill

    SANTÙ - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    Tuesday saw the fabulously retro Bobbie Dazzle roll up at KK’s Steel Mill together with equally organic quartets Santú and Kasperia.

    SANTÙ – Kasperia

    KK’s Steel Mill, Wolverhampton – 20 October 2026

    Words: Sophie James

    Photography: John Inglis

    Now and again, an aspiring young band comes along and positively blow you away.

    Ladies and gentlemen, may I introduce SANTÙ, a four-piece emanating from the Second City who have rocketed to the summit of my Must See Again Chart.

    SANTÙ - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    SANTÙ – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    Comprising Zé (vocals), Sam (guitar), Tom (bass) and Jonathan (drums) SANTÙ produce a vigorous, organic soundscape rooted in bluesy classic rock but with an electrifying modern edge. Think of a fusion of Free and RATM/Audioslave with elements of Rival Sons scattered liberally throughout.

    While the vocals were clear, they were a touch low in the mix. Ordinarily, not an insurmountable issue however it did mean I was unable to catch Ze’s inter-song dialogue, missing most song introductions and titles with one notable exception.

    SANTÙ - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    SANTÙ – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    While the above comparison captures their essence, the band members’ personal influences are eclectic, with many transferring to particular numbers over the course of the set. There is so much occurring within these arrangements.  

    Take the first song, for instance. Over its extent, I noted a big intro, fevered construction, heightened emphasis on call and response, dreamy interlude, cymbals thrashing ‘n’ crashing, stop-start bass, guitar following falsetto blues vocal prior to soloing emotively, then making the guitar talk.  

    Phew! Got all that? Good. It sounds complicated, but it was magnificent and so goddamn impressive. I just wish I knew what the song was called. Probably the most modern take on heavy blues-based rock that I have heard.

    SANTÙ - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    SANTÙ – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    The second number had a darker yet melodic riff that built gloriously. Song three possessed that mellow RHCP groove which escalated into an epic finale.

    (You have) No Intention felt like RATM playing Deaf Forever, a peculiar concept but again, magnificent. Following Ze’s excursion to the barrier to lead the titular chant it accelerated into a climactic ending. My notes for this section ended with a simple “WOW!”

    “Any Fleetwood Mac fans in the house?”

    I have heard Oh Well played oh so many times through the years but this rendition was categorically the mightiest yet encountered. From the bass emulating the riff, the agitated call and response, immersive breakdown and grandstand conclusion, this was an archetypal exhibition on how to tackle a cover. Simply flawless.  

    The closing number invoked the spirit of Free but included a wee snippet of Whole Lotta Love on which to conclude. This was a performance that left one breathless. I have not had a young band impress so much since I first encountered Zac & The New Men. 

    SANTÙ - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    SANTÙ – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    With music as dynamic as this, it’s a good job that Ze’s voice has the range, power and clarity to accompany the musical breadth. And as for the musical direction, that emanated from Sam. Rarely have I seen a guitarist with such a commanding presence at such a young age.

    SANTÙ are the kind of band who would get invited to play a blues club and blow the proverbial roof off. I want, scrub that, I NEED to see more of this band.

    Kasperia

    Opening the evening were Stourbridge quartet Kasperia who had very briefly crossed my bow once previously when they opened for A Thousand Horses, just next door in The Big Room back in July.  

    Kasperia - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    Kasperia – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    Formed just last year, they comprise vocalist Leah Plant, guitarist Jack Roberts, bassist Ben Weaver and drummer Jamie Blanco and define themselves as “Channelling the spirit of rock’s golden era while captivating audiences with modern flair.”

    I would describe opener Alabaster as funky blues with Jack’s solo, the first of many that invoked the spirit of that golden age with the distinctive tone for which the Stratocaster is renowned. Warm applause was received from the early birds gathered.

    Kasperia - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    Kasperia – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    Most recent single Dead Letter followed. Ben’s intro led into a more bluesy vocal from Leah. While Jamie’s bass drum was dominant in the mix, it did not detract from the overall feel and Jack’s expressive, free-flowing foray.  

    On Anamcara, Leah’s country-tinged vocal demonstrated her range while Jack’s sporadically exhibited shades of Blackmore. Own Your Mind commenced in a driving funk groove which settled down into a mellow, bluesy lament.

    “Some of you know this, please sing along”. 

    Lay Lady had a more straight-ahead rock ‘n’ roll feel but sped through colours that revealed an altogether more involved arrangement.  

    Kasperia - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    Kasperia – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk

    Vectoring into a jam before the solo, then a Doors-like segment afterwards while Jamie regularly fired Moon/Bonzo style fills, this number received the biggest cheer yet.

    The upbeat and driving blues funk of Dig It (Destroy Them) made for a rousing finale. The riff was reminiscent of the Lizzy classic Don’t Believe A Word, which remains one of my favourites to this day, needless to say I enjoyed it. 

    Overall, a set that lived up to their profile, Kasperia fashioned a sound that was an honest, organic expression of rock in its purest form.

    While Jack’s playing is magnetic, I found myself anticipating each and every excursion. It is the synergy between the three musical elements that gives the sound that thrilling nostalgic quality.  

    With a raft of forthcoming new singles, we can expect to see much more of Kasperia in the months ahead.

    Kasperia - KK's Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    Kasperia – KK’s Steel Mill, Wolverhampton – 20 October 2026. Photo: John Inglis/MetalTalk
    The post SANTÙ Leave Us Breathless As Kasperia Shine At KK’s Steel Mill first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • Laji George – Say

     

    New York City rock frontman and songwriter Laji George (of Pseutopia) brings a raw, soulful edge to alternative rock, blending classic rock fire with modern indie grit and deeply personal, expressive vocals.

    His hard-hitting single “Say” takes a direct swing at the crushing pressure, fake perfection, and isolation social media dumps on young adults. Backed by heavy, thunderous grooves from legendary Pearl Jam drummer Dave Abbruzzese, the track seamlessly blends raw atmospheric guitars with explosive vocal power. Exceptionally written and expertly arranged, it defies easy genre labels to deliver a classy, high-energy rock anthem packed with killer drumming and an insanely catchy chorus that commands genuine human connection from start to finish. 

    Give it a go by clicking on the Spotify player below and follow Laji George if you like what you hear. 

  • The Filthy Heathens – Underdog

     

    The Filthy Heathens are a hard-hitting, no-bullshit rock crew fueled by raw grit, sweat, and loud-as-hell truth. Slamming Southern rock, outlaw country, metal, and heavy-duty Americana into a blender, they’ve built a reputation for chaotic, high-octane live shows and a relentless hustle that’s blowing up across the country. Following their 2025 EP Etheridge, their legendary live recording at Muscle Shoals, and the massive success of “Diamonds in the Rough” crossing 3 million streams, the band hit Sonic Ranch to forge their August 2026 debut full-length, Hard Miles—a road-tested, heavy record born from real scars and long nights.

    Their electric track “Underdog” is an absolute anthem for grinding your way up from the bottom. Cranking a killer pace and a fiery, infectious mood, the song pairs top-tier, pristine production with insanely catchy vocals and a fantastic guitar solo section. It’s an energetic, high-octane banger that hits like a freight train and keeps you hooked from the first note to the last. 

    Give it a go by clicking on the Spotify player below and follow The Filthy Heathens if you like what you hear.