Blog

The Press Release: Fanhome, the leading producer of subscription-based collections announces the launch of the Spider-Man Masterpiece Collection, an extensive compilation of hardcover graphic novels celebrating one of the most … Continue reading Fanhome Announces The “Spider-Man Masterpiece” Collection →

90s-tinged and fuelled by delusional optimism, Royal Foundry describe themselves as your mom’s kid’s favourite band. After 13 years building a band the hard way eventually things clicked, with punters andradio warming to the bands indie-rock formula. Their forthcoming 2027 album, Actually, Honestly, dives headfirst into the eccentric, theatrical, and slightly unhinged parts of Royal […]

Nickelback is keeping the rollout going. Fresh off “Rattle The Cage” (featuring John 5), the Canadian rockers have dropped the official Timothy Hiehle-directed video for “Leave Me Behind,” the third single off their upcoming album, Everything Under The Sun, due Oct. 30, 2026 via Virgin Music Group.

Where “Rattle The Cage” announced Nickelback‘s next era with a wall of guitars and arena-sized bravado, “Leave Me Behind” shows a different angle, built around vulnerability and loyalty rather than swagger. The song is essentially a promise: turning heartbreak into something you can stand on, being the person who helps someone else find the pieces when everything’s fallen apart, and finally letting go of what’s been holding them down.

The hook boils it down to one line: “Spit out the poison and leave it behind.” But sitting right underneath that is a more personal ask: “just don’t leave me behind.” That tug-of-war between pushing someone forward and needing them to stay close is what gives the song its edge.

“There’s a lot of weight in this song, but there’s also a lot of hope,” says Nickelback frontman Chad Kroeger. “It’s about being there for someone when they’re dealing with the things that have broken them down, picking up the pieces, taking some of that weight off their shoulders, and reminding them they don’t have to go through it alone. At the same time, there’s that feeling of not wanting to be left behind. We liked that tension. It makes the song feel really personal.”

“Leave Me Behind” follows “Rattle The Cage” and the chart-topping “Bones For The Crows,” which marked Nickelback‘s first new music since 2022’s Get Rollin’ and kicked off the rollout for Everything Under The Sun. The album lands during a genuine resurgence for the band, coming off the success of the Hate To Love: Nickelback documentary and the record-breaking Get Rollin’ world tour, the fastest-selling and best-attended run of the band’s career.

Between the three singles so far, Everything Under The Sun is already showing its range, and true to the title, it’s built to cover the full spectrum of what’s made Nickelback one of the biggest rock bands on the planet: big arena hooks, massive guitars and the songwriting chemistry that’s defined the band for more than 30 years.

Starting out in Hanna, Alberta, Nickelback has grown into one of the biggest rock success stories of the 21st century. Since breaking through with Silver Side Up and the genre-defining “How You Remind Me,” the band has racked up Grammy nominations, American Music Awards, Billboard Music Awards, JUNO Awards and international recognition to match.

With close to 60 million albums sold worldwide, billions of streams and more than 50 million monthly listeners, Nickelback remains one of rock’s most streamed and commercially successful acts, still pulling in new fans through streaming while holding onto a fanbase that’s kept arenas full for two decades running.

That momentum only built over the past few years. The Netflix documentary Hate To Love: Nickelback turned into a global hit, spending weeks in the platform’s Global Top 10, while the Get Rollin’ world tour broke attendance records and cemented the band’s reputation as one of rock’s top live draws.

Everything Under The Sun builds on all of that while looking ahead, serving as both a victory lap and a statement that the band’s creative drive hasn’t slowed down.

The album also marks Nickelback‘s first release through Virgin Music Group. Virgin Music Group president for North America, Jacqueline Saturn, commented on the new partnership: “Nickelback has built one of the most remarkable careers in music, and it’s a huge honor for everyone at Virgin Music Group to work alongside a band with such an enduring legacy and global impact. We’re thrilled to partner with them as they begin this exciting new chapter and can’t wait for fans to experience Everything Under The Sun.”

More than three decades in, Nickelback keeps evolving without losing what made the band recognizable in the first place. With Everything Under The Sun, the message is clear: the story isn’t finished, and the biggest chapters might still be ahead.

Everything Under The Sun is available to pre-order here.

The post NICKELBACK Drops Third Single “Leave Me Behind” From Upcoming Album “Everything Under The sun” appeared first on Sonic Perspectives.

Cradle of Filth frontman Dani Filth is putting his story on paper. His autobiography, The Filth: My Life in Devilry and Debauchery, arrives in June 2027 via Little, Brown Book Group, a division of Hachette UK. The book was co-written by British author Joel McIver, whose roughly 25 books to date include the bestselling Justice For All: The Truth About Metallica, first published in 2004 and since translated into nine languages.

Filth broke the news himself: “Filthlings, I have some epic news, I’ve written a book!

“Publishing next June, in The Filth: My Life In Devilry And Debauchery, I’ll take you on a 50-year journey from an idyllic childhood in the witch county of Suffolk, through my tearaway teenage years of skateboarding, skulduggery and Satanic malarkey, through to my discovery of extreme metal, hardcore punk and a few mushroom-fuelled journeys into the realms of psychic chaos.

“We skip lightly over early bands of mine such as Carnival Fruitcake, Feast On Excrement, and Hash Gordon & the Drug Barons From Mars before the violent birth of Cradle Of Filth and the start of a four-decade battle campaign around the world.

“Along the way we visit the BBC’s Never Mind The Buzzcocks and MTV’s Viva La Bam, French policemen try to break my thumbs, murderers confess their crimes, I’m held at gunpoint at the Vatican, I very nearly get decapitated by an exploding tin of beans, and so much Jagermeister is consumed that my blood practically turns green.

“You may not finish this book with your sanity intact. I barely did!”

Formed in 1991 in Suffolk, England, a county with deep roots in witchcraft and dark folklore, Cradle Of Filth has spent more than three decades building a reputation as one of metal’s most successful and uncompromising bands. The group’s sound fuses the cold, anti-authoritarian edge of black metal with classic thrash energy, backed by an unmistakable visual identity built on gothic horror, vampiric imagery and unapologetic hedonism.

For the first time, founder, singer, lyricist, and chief architect Dani Filth (born Davey) tells his own story in full. The book digs into the macabre lore that shaped his childhood, the controversies and conflicts he’s weathered along the way, and his work outside Cradle of Filth, including Devilment, Temple Of The Black Moon, and various film and television projects.

Dark, vivid and unflinching, The Filth: My Life In Devilry And Debauchery offers a close look into the life and imagination of one of metal’s most recognizable figures.

Cradle of Filth recently confirmed the second leg of its “Majestic In Death” North American tour, set to run this fall with support from Moonspell, Worm, and Black Satellite.

The “Majestic In Death II” run marks the 30th anniversary of Cradle of Filth‘s 1996 album Dusk… And Her Embrace, with the band planning to work select tracks from the record into the setlist throughout the tour.

Pre-orders for The Filth: My Life In Devilry And Debauchery are open now at this location.

The post CRADLE OF FILTH’s DANI FILTH Announces Autobiography “The Filth: My Life In Devilry And Debauchery” appeared first on Sonic Perspectives.

We’re only a month away from @’s new album Autosmile. The Philly hyperfolk duo wowed us with the early singles, and #3 is splendid too. “Bird,” out today, is the kind of folk song that can rearrange your brain. It’s sparse yet intricate, leveling out into gorgeous simplicity at just the right times and never giving up its inherent eeriness. “I’m at the mercy of God,” Stone Filipczak intones.

The post @ – “Bird” appeared first on Stereogum.

On July 29, 2026, Universal Studios announced a new haunted house inspired by Ozzy Osbourne for Halloween Horror Nights in both Orlando and Hollywood. The announcement was met with excitement from many Ozzy fans – for them, an opportunity to step inside the mythology of one of metal’s most beloved figures, with an actor-led experience recreating highlights from his musical career, seemed like a dream combo.

There was, however, also a little cynicism. For some, the timing felt uncomfortably transactional. Is turning a recently deceased musician into a theme-park attraction simply another way of cashing in on their legacy while the grief is still fresh?

Going off the rails on the gravy train?

That sentiment was particularly pronounced on social media, where some fans accused Osbourne’s family of turning his name into a commercial asset:

“He died and his family IMMEDIATELY turned him into a theme park attraction!”

“His family is just using his name on everything they can to get paid!”

You get the gist. There’s a major problem with this argument, though: Universal Studios had been doing Ozzy Osbourne-themed attractions long before his death.

The theme park titans had already incorporated Ozzy and Black Sabbath into a haunted house at Halloween Horror Nights more than a decade ago. In 2013, Universal Studios Hollywood featured Black Sabbath: 13, an attraction inspired by the band’s then-new album and its occult imagery. Ozzy himself even visited the attraction at the time, giving it his own seal of approval by saying it’s “great, scared me a couple of times.”

Ultimately, there’s only one way to find out if the Ozzy Osbourne: Prince of Darkness haunted house is a loving tribute or a cynical cash grab, and that’s to head over to Halloween Horror Nights at Universal Studios Orlando and experience it for myself. So I did.

No more fears!

Imagine being able to step inside your favourite piece of album artwork. The thrill of being surrounded by its dark beauty, taking actual footsteps within its brooding world. That’s exactly what the Ozzy Osbourne: Prince of Darkness haunted house is. It’s the gothic fantasy visuals of heavy metal realised in tangible, 3D form.

The indoor walkthrough experience begins with a beautiful facade of gothic church ruins. Look down and there’s Ozzy’s face projecting through the water while Straight to Hell from 2020’s Ordinary Man plays in the background.

Then we jump back to 1988’s No Rest for the Wicked in the first scene, with Bloodbath in Paradise blaring as we walk beneath a temple of cloaked cultists wearing masks bearing Ozzy’S symbol.

Next, we tiptoe nervously through claustrophobic dungeons, strobe lights flash red and the soundtrack fittingly switches to Patient Number 9. Actors leap out to jump-scare from behind bars, disappearing back into the shadows too quickly to for us to fully appreciate their artfully crafted makeup and prosthetics.

From this point onwards, things descend into full-scale glorious madness in the most Ozzy ways imaginable. An enormous bat descends from the ceiling and bites the head off of the Prince Of Darkness (no, this isn’t a fever dream). Werewolves dressed as Ozzy leap out from behind giant tombstones as Bark At The Moon plays at full volume (no, this still isn’t a fever dream)

Then, lights on a full-sized train carriage flash brightly, illuminating a wide-mouthed Ozzy actor towering over us on stilts. He is dressed as a train conductor, and ushers us aboard. We are actually stepping on to the Crazy Train (at this point, is there anything I can possibly do to convince you this wasn’t a fever dream?).

Sure, stepping onto an actual crazy train is ridiculously literal. But it’s also ridiculously fun. And that’s, ultimately, is the tone that sums up the Ozzy Osbourne haunted house experience. It salutes his musical legacy in a theatrical, playfully dark way.

Despite the final scene featuring the throne from his very last concert, the attraction never feels like a sombre tribute that says “we miss you.” Instead, it’s a loud celebration that says “we loved you” with a wild grin on its face.

There’s also a variety of Ozzy-themed snacks for fans to enjoy at the event, including a milk chocolate bat with a raspberry-filled head, a mini black carrot cake (Ozzy’s favourite) and a Black Rain tequila-based drink, amongst others.

While the keyboard warriors will inevitably bemoan the Ozzy haunted house from a viewpoint that is, frankly, misinformed, the attraction itself champions his musical career in unique and special ways. It’s a legacy handled with love and respect. You suspect the man himself would have approved.

The Ozzy Osbourne: Prince Of Darkness haunted house will be at Halloween Horror Nights at Universal Orlando Resort and Universal Studios Hollywood until November 1, 2026

The first thing I learn about Mangata Festival is that it’s set in an absolute rabbit’s warren of interconnected venues. The second is that everyone – and I include the staff, bands, and vendors – seems to be here to have a good time. From the get-go, there’s a real sense that the organisers have … Continue reading Gig Review: Mangata Festival 2026 – Nottingham (5th September 2026)

Following Macklemore’s removal from Ed Sheeran’s tour due to the rapper’s outspoken pro-Palestine activism, fellow openers Finneas and Aaron Rowe have dropped off the tour.

The post Ed Sheeran Openers Drop Off Tour In Solidarity With Palestinian People appeared first on Stereogum.

The Warning have announced their Everything’s Falling World Tour, kicking off with their first-ever headline stadium show at Mexico City’s Estadio GNP Seguros on February 5, 2027. Marking a major new milestone for the Monterrey sister trio, the performance will see The Warning take over the 65,000-capacity stadium before bringing their live show across the UK, Europe, U.S., and Canada throughout April and May 2027, with stops in London, Berlin, Paris, Las Vegas, San Francisco, Vancouver, Denver, Atlanta, Toronto, New York City, Boston, and more. See the full list of tour dates below.

Tickets go on sale to the general public Friday, September 18 at 10am local time. Patreon presale and VIP packages begin Tuesday, September 15 at 10 am EDT / 7 am PDT and run through Thursday, September 17 at 10 pm local time. Artist presale begins Wednesday, September 16 at 10 am local time and runs through Thursday, September 17 at 10 pm local time. Additional local presales will take place Thursday, September 17 from 10 am to 10 pm local time. Canada and EU/UK will follow the same on-sale timeline. For tickets and to sign up for the artist pre-sale, visit here.

Before kicking off the tour, The Warning will headline the halftime show, presented by American Express, at the 2026 NFL Mexico City Game between the Minnesota Vikings and San Francisco 49ers on Sunday, November 22.

The announcements add to a landmark year for The Warning following the release of their fifth studio album, Everything’s Falling, out now via Lava/Republic Records. The album arrived as “Kerosene” reached #1 on Billboard’s Mainstream Rock Airplay chart, making The Warning the first Mexican band and the first all-female band to top the chart.

New album Everything’s Falling captures a period of growth, self-discovery, and resilience for Daniela “Dany” Villarreal, Paulina “Pau” Villarreal, and Alejandra “Ale” Villarreal, while showcasing the fearless songwriting and explosive musicianship at the core of the band. The album was recorded in their hometown of Monterrey, Mexico, with longtime producer Anton DeLost after the band made the conscious decision to step off the road in 2025 and focus fully on writing.

Across the album, The Warning continue to push forward sonically and creatively. “Kerosene” delivers defiant attitude and a driving riff, while “Ritual” explores existential anxiety through dramatic polyrhythms and haunting harmonies. Elsewhere, “Ego” channels frustration into swagger, and “Bite My Tongue” delivers sharp, biting energy.

Most recently, The Warning joined Carín León on stage during three of his shows at Sphere in Las Vegas, performing “Love to Be Loved” together. The appearances continued a banner year on the road for the band, which has seen them take stages across North America, Latin America, Europe, and Asia, including dates supporting Yungblud on the IDOLS World Tour, major international festival appearances, and headline shows of their own.

The post THE WARNING Announces “The Everything’s Falling” World Tour appeared first on Sonic Perspectives.

The album’s b-side track “Her Portrait In Black” is also now available digitally.

The post Atreyu’s “A Death-Grip On Yesterday” To Receive 20th Anniversary Reissue appeared first on Theprp.com.