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  • Bruce Dickinson Releases Music Video For ‘Change Of Heart

     

    Bruce Dickinson releases dramatic new video for ‘Change Of Heart

    TAKEN FROM  2025’S ACCLAIMED ALBUM MORE BALLS TO PICASSO

     

    Following the award-winning video (16 globally and counting…) for Bruce Dickinson’s classic track ‘Tears Of The Dragon’, released earlier this year, comes its companion piece. ‘Change Of Heart’ was shot in Sao Paulo, Brazil, in September 2025 when Bruce Dickinson joined with directors Leo Liberti and Antoine de Montremy to create a beautiful and emotional film to accompany the soul-stirring ballad.

    While Bruce performs in an abandoned space in the heart of the city, accompanied by his guitarist Philip Naslund, a narrative unfolds symbolising the human condition where amid chaos, deterioration and suffering, life continuously seeks ways to be reborn.

    Throughout the video, various situations from contemporary life are portrayed through people of different ethnicities and cultural backgrounds. These images reveal a society that is often distracted, disconnected, and incapable of recognizing the pain that exists right before its eyes.

     

    Running parallel to this journey is a child who carries a William Blake painting ‘The Good and Evil Angels’. The child serves as a silent messenger throughout the film. His presence does not condemn, accuse or offer easy answers. He simply observes. As a constant warning, he invites the audience to reflect on their own choices and on the direction humanity has chosen to follow.

    Bruce Dickinson reveals, “When we shot a video for ‘Tears Of The Dragon’ in Brazil last year, I thought it would be a wonderful opportunity to also shine a light on the song ‘Change Of Heart’. This song has always been very special to me with the wonderful new arrangement of it on the ‘More Balls To Picasso’ album, its message and power feels even more enhanced. We used the William Blake painting because he devoted much of his work to the eternal tension between innocence and experience, freedom and spiritual enslavement, consciousness and alienation, and I’m very aware that my own work often deals with the same subjects. So having the young boy in the video, carrying that particular painting is a very deliberate choice. The child embodies that primal awareness, capable of seeing what adults have learned to ignore.”

    The result is a thoughtful, beautiful video that perfectly complements the songwriting and performance of the song.

     

    This new version of ‘Change Of Heart’ is one of the stand-out tracks on last year’s More Balls To Picasso album. Remixed, newly mastered and with many parts re-recorded, it reimagined the original 1994 recording of Balls To Picasso as a fresh and contemporary release; a roaringly full-throttle and ambitious collection of supremely crafted and fully realised songs. Released to worldwide acclaim More Balls To Picasso instantly became an essential album for all rock and metal fans and a testament to his original, somewhat overlooked, vision.

    The post Bruce Dickinson Releases Music Video For ‘Change Of Heart appeared first on Mayhem Music Magazine.

  • She’s In Charge | Virginia Hall: The Most Dangerous Spy in WWII

    When we talk about heroes, we usually picture people who were given the tools, the support, and the chance to do something great. We like to imagine that the people who change history were somehow meant for it. But some of the most impressive people are the ones who were told no before they even got started. Virginia Hall is one of those people. And the more I learn about her, the harder it becomes for me to understand how anyone could have looked at her and decided she was not capable of doing something extraordinary.

    Virginia Hall is the ultimate example of what happens when you refuse to let an institution decide what your limits are.

    In the 1930s, Virginia had one goal. She wanted to become a diplomat for the United States. She was brilliant, spoke several languages, and was highly educated. Then, during a trip to Turkey, a hunting accident changed everything. She lost her left leg below the knee and was fitted with a heavy wooden prosthetic. It was difficult, uncomfortable, and probably a constant reminder of what had happened to her. She named it “Cuthbert.” There is something about that little detail that I love. She could have spent the rest of her life thinking of that leg as something that had taken part of her away. Instead, she gave it a name and carried on.

    When she applied to the US State Department, they rejected her. They used her missing leg as an excuse and pointed to an old rule, but the truth of the time was hard to ignore. They did not want a woman, and they certainly did not want an amputee, representing them on the world stage. After everything she had studied and everything she wanted to achieve, they told her to settle for a desk job as a clerk. I imagine how painful that must have been. Not because she had failed, but because someone else had decided she was not even worth giving a chance.

    Virginia didn’t settle.

    When World War II broke out, she did not wait for the government that had rejected her to suddenly change its mind. She crossed the ocean and joined the British Special Operations Executive, a secret organization created by Winston Churchill to carry out espionage and sabotage in Nazi-occupied Europe. There is something almost unbelievable about that choice. She had been told that she was not suitable for the work she wanted, and instead of giving up on it, she found another way to do it.

    She was sent into France under the cover of being a reporter. Once she was there, she became an incredible force for the resistance. Virginia organized local networks, coordinated supply drops, set up safe houses, and helped arrange daring escapes for captured Allied soldiers. She became so effective at disrupting German operations that the Gestapo became obsessed with finding her. Klaus Barbie, the infamous Gestapo chief, reportedly said, “I would give anything to get my hands on that limping bitch.” It is a horrible thing to say, but there is something strangely satisfying about knowing that the woman they had dismissed as incapable had become one of the people they feared most.

    They considered her the most dangerous Allied spy in all of Europe. They flooded the region with wanted posters describing her, but Virginia kept getting away. She changed her appearance, moved through the shadows, and constantly found ways to stay ahead of the people hunting her. Imagine living like that, knowing that being recognized could cost you your life, and still waking up every day and continuing the work.

    When the heat became too intense and her cover was finally blown, she had to flee. In the dead of winter, Virginia escaped France by hiking across the dangerous Pyrenees mountains into Spain. It was a brutal 50-mile journey through freezing snow. Halfway across, she managed to send a message to her command saying that “Cuthbert” was giving her trouble. They had no idea she was talking about her wooden leg, so they replied, “If Cuthbert is troublesome, eliminate him.” I cannot help laughing at that exchange, especially when you remember that she was struggling through the mountains with the very thing people once used as proof that she was not capable.

    She survived the mountains, but she still wasn’t done. Instead of going somewhere safe and leaving the war behind, she joined the American Office of Strategic Services, the organization that would later become the CIA, and demanded to be sent back into France. She returned disguised as an elderly peasant woman and continued training resistance fighters, mapping drop zones, and helping fight the Nazi occupation until the war was finally won. At some point, she had already crossed a mountain range to escape the enemy, and somehow her answer was to go back.

    Virginia Hall’s story is incredible because she did not just have to fight a war against fascism. She had already spent years fighting the people who told her she was not capable of being part of that war. She was told that her body made her incapable. She was told that being a woman made her unsuitable. She was given every reason to believe that the life she wanted was no longer possible. Instead, she took those rejections, strapped on her wooden leg, and became one of the most formidable weapons of the Second World War. That contrast is what makes her story so powerful to me. They saw something missing. She saw something she could keep moving with.

    Her legacy reminds me of how easy it is to believe people when they tell us we are not good enough for something. Sometimes the person saying it has authority, experience, or a title that makes their opinion feel impossible to question. But Virginia Hall had already been told no by people who were supposed to know what they were talking about. They were wrong. Completely wrong. She did not need them to change their minds before she could become who she wanted to be. She simply found another door, walked through it, and showed the world exactly what they had failed to see in her.

    The post She’s In Charge | Virginia Hall: The Most Dangerous Spy in WWII first appeared on FemMetal – Goddesses of Metal.

  • Festival Review: Bloodstock 2026 – Saturday (WeeG’s view)

    Due to various Saturday morning shenanigans, I didn’t manage to catch the start of Imperium’s set in the SOPHIE tent, but when I arrived they were maybe two to three songs in and playing to a pretty decent crowd for a lunchtime slot. I had wanted to catch Imperium given my thrash metal tastes and … Continue reading Festival Review: Bloodstock 2026 – Saturday (WeeG’s view)
  • Strawberry Hands – “What Plant Jumps Over Me?”

    A Jazz Blessing For The Animal is a pretty title for an album, and it wouldn’t work if the music wasn’t both weird and beautiful. Luckily, it is! Weyes Blood describes her bandmate Jacob Brunner’s music as “somewhere between Terrance McKenna and Gregorian chant. Folk with swagger.” Strawberry Hands released the great lead single “Dream Of Water” last month, and now they’re sharing “What Plant Jumps Over Me?”

    The post Strawberry Hands – “What Plant Jumps Over Me?” appeared first on Stereogum.

  • Phoebe Bridgers Covers Nirvana In The Live Lounge

    Due to appendicitis, Phoebe Bridgers had to postpone a series of intimate UK shows this week, which were to be her first live performances since last Friday’s momentous Lost Weekend release. But before her appendix flared up, she made it to BBC Radio 1’s Live Lounge in London to record a session. As of now, that session is live.

    The post Phoebe Bridgers Covers Nirvana In The Live Lounge appeared first on Stereogum.

  • Undeath announce UK headline tour and tease fourth album following Relapse Records signing

    Rochester death metal corpse-grinders Undeath have announced a headline tour across the UK for this November. The run comes hot on the heels of the band officially signing to pioneering extreme music label Relapse Records, who will release their highly anticipated fourth studio album. The band recently completed tracking the as-yet-untitled full-length with producer Colin … Continue reading Undeath announce UK headline tour and tease fourth album following Relapse Records signing
  • MICHAEL MONROE Announces U.S. Tour During Spring 2027

    Former Hanoi Rocks frontman Michael Monroe is bringing his solo show back to the States, with a run of shows locked in for April and May 2027.

    Monroe‘s current touring band is stacked with veterans. Bassist Sami Yaffa, formerly of Hanoi Rocks and New York Dolls, has been by Michael‘s side since the ’80s. Guitar duties fall to Rich Jones (ex-Ginger Wildheart band) and Steve Conte, who stepped into Johnny Thunders‘ shoes in New York Dolls and has logged time with acts like Suzi Quatro and Eric BurdenKarl Rockfist, who’s drummed for Danzig, rounds out the lineup.

    Monroe had to bow out of last fall’s U.S. run supporting Buckcherry after rupturing his meniscus, pulling out of that tour in August 2025.

    The singer marked his 60th birthday in September 2022 with a show at Helsinki’s Jäähalli, capped off by a reunion of Hanoi Rocks‘ original lineup — MonroeAndy McCoySami YaffaNasty Suicide and Gyp Casino — plus a reformed Demolition 23, the cult band Monroe fronted for a single 1994 album before it split, playing its first show since 1995.

    Monroe and McCoy started Hanoi Rocks in the late ’70s, with the classic lineup solidifying by 1980. As the first Finnish rock band to break through internationally, the group cut three albums with that lineup — Bangkok Shocks, Saigon Shakes, Hanoi Rocks (1981), Oriental Beat (1982) and Self Destruction Blues (1982) — before Casino was replaced by Nicholas “Razzle” Dingley in 1982. Razzle‘s death in a 1984 accident effectively ended the band the following year.

    Hanoi Rocks reunited once before, in 2002, with only Monroe and McCoy from the original lineup, releasing comeback album Twelve Shots On The Rocks before splitting again in 2009.

    Tickets go on sale Friday, Aug. 21.

    The post MICHAEL MONROE Announces U.S. Tour During Spring 2027 appeared first on Sonic Perspectives.

  • Album Premiere: Deceptor – Reign of Terror

    There’s playing old-school death/thrash, and then there’s apparently deciding that heavy metal history effectively reached its ideal evolutionary state sometime between 1988 and 1992.

    Raleigh, North Carolina trio Deceptor proudly fall into the latter camp. Their debut full-length, Reign of Terror, arrives August 21 through Dying Victims Productions, but you can hear the whole thing below today.

    Led by vocalist/bassist Gabriel Earley alongside guitarist Preston Lanier and drummer Andrew Harper, Deceptor trace their lineage to the period when thrash was becoming nastier, death metal was becoming stranger and the dividing line between the two was still wonderfully unstable. Across 10 tracks and a remarkably economical 33 minutes, Reign of Terror pulls from early Sepultura, Whiplash and Sacred Reich on one side, Morbid Angel, Obituary and early Gorguts on the other.

    That reverence comes with a good origin story. Earley began Deceptor as a bedroom project after becoming fascinated by the stories of Jon Zazula championing young bands like Metallica and Anthrax. Lanier entered the picture in 2022 after Earley approached him at an Exodus show and handed him a copy of Deceptor’s Bound by Ritual demo; Harper joined several months later after seeing the fledgling band tear through a DIY house show.

    The same DIY impulse runs throughout Reign of Terror. Aside from the album artwork, the band handled the recording’s mixing, mastering and design themselves, fitting neatly with their self-appointed designation as the “East Coast Death Thrash Militia.”

    “Do it yourself, speak for yourself, and think for yourself,” the band says.

    That ethos extends to the album’s subject matter, which Deceptor describe as pro-American and anti-government, drawing on themes of revolution, psychological warfare and guerrilla combat. It’s confrontational material designed to match music that rarely sits still: riffs sprint, lurch and abruptly change direction; Earley’s bass gives the record’s frequent breakdowns additional weight; and Harper attacks the kit with the kind of controlled violence that makes the band’s Gene Hoglan worship fairly easy to identify.

    Most importantly, though, Deceptor understand that recreating an era requires more than simply recreating its production values. Reign of Terror has the speed, ugliness and technical ambition of its chosen period, but also the sense that these three are genuinely excited by what might happen when all of those things collide.

    Stream Reign of Terror in full below. The album is out August 21 on CD and vinyl via Dying Victims Productions.

    The post Album Premiere: Deceptor – <i>Reign of Terror</i> appeared first on Decibel Magazine.

  • The Gardening Club – Gnarly Hearts Review

    If one goes back in time to the very early days of Martin Springett the musician, he was in a band called Gateway Driver in 1973 and played in Germany with bassist Rob Burns. Rob later worked with the likes of David Gilmour, Pete Townshend, and Eric Burdon, was professor at Otago University as well as being an author of different books on music. When Martin released the wonderful ‘The Gardening Club’ album in 1983, the keyboard player John Sheard, who has since appeared on hundreds of recordings with artists such as, Rita Mcneil, Olivia Newton-John, Ian and Sylvia, Dan Hill, Rita Coolidge, Mary Margaert O’Hara, Celine Dion, and many more. This song came about after Martin survived a major heart operation, and now he is again fighting various issues he decided to finally complete the song, as he always liked it but never felt there was room for it on ‘The Riddle’. In many ways he has used musicians who document the journey he has been through, as alongside Rob and John we also have Kevin Laliberte who has worked closely with Martin for the last five years.

    The quartet may never have been in the same room together (Rob still lives in NZ and the rest of the guys are in Canada), but it never feels that way, as here they sound as if the band are playing and smiling at each other as they work through a song which never feels as if it is more than eight minutes long. It is undoubtedly one of Martin’s finest pieces to date, wonderfully layered with the warmth of Camel combining with some of the detachment of Pink Floyd, all brought together with stacks of Roy Harper to make something which is truly special. I found the best way to truly appreciate this song is to put it on repeat and just let it play for a few hours as each time there is something else which comes to light, making this majestic and wonderful. Is it the multi-tracked and slightly distorted slide guitars here, or the layered keyboards there, the feeling that Martin’s acoustic guitar and vocals are always at the heart of everything, with bass which is warm and reflective, driving when needed to?

    I have no idea, but yet again I can only wonder what would have happened if ‘The Gardening Club’ had received the credit it so richly deserved more than 40 years ago. Would Martin now be a household name in the music industry? Given the quality (and remarkable quantity) of his output since 2018 I can only imagine. I know I feel warmed by his friendship and feel real joy and empathy when listening to songs such as this. This is currently only available as a digital single on Bandcamp, and for just $2 what have you got to lose? If you know his music then you will delight in this, and if you have yet to come across Martin then this is the perfect introduction.

    kev rowland |5/5 | 2026-8-18