Interview by Angela Croudace For more than 25 years, The Used have built their legacy on chaos, catharsis and connection, but in 2026, they’re stepping into entirely new territory with a landmark performance at the Sydney Opera House. Taking place on March 29, the one-night-only event, titled A Mid Summer Night’s Symphony, will see the […]

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When you think or speak about the group Rainbow, legends actually come alive. The brainchild of maestro Deep Purple guitarist Ritchie Blackmore, the dynamic quintet would carry on Purple’s sense of aesthetic bombast while layering in mystical lyrical imagery courtesy of the diminutive yet sprite-like Ronnie James Dio.

Even before Dio would be extolling the power of “neon knights” with Black Sabbath and patrolling the midnight sea on his eponymous band’s “Holy Diver,” he proved himself a confident, one-of-a-kind frontman. Springboarding off the blues-rock sound of his American band Elf, Dio would dice in wizardry, mysticism, and magic to give Rainbow its own legacy within the annals of hard rock and heavy metal.

The Temple Of The King 1975 – 1976, a nine-disc set, conveys a band with the power to go toe-to-toe with any contemporary. And it only takes two studio albums. Ritchie Blackmore’s Rainbow lays the groundwork with staples like “Man on the Silver Mountain,” “Still I’m Sad,” and “Catch The Rainbow.” Rising takes the band into the stratosphere as Tony Carey’s synthesizer, Jimmy Bain’s thumping bass, and Cozy Powell’s titanic drumming create a masterwork that the power brokers at Tor Publishing Group would easily salivate over. Songs like “Tarot Woman,” “Stargazer” (complete with orchestra), and “A Light In The Black” emphasize a hard rock renaissance and unveil the talents Dio brings to the musical table by way of lyrics and voice.

These two albums are also important because they showcase Rainbow at its prime before its sound grows more commercialized and a revolving door of singers (Graham Bonnet, Joe Lynn Turner) sift through following Dio’s departure to join Sabbath in the early 1980s. The box set only spans the years 1975 and 1976 but Rainbow makes sure to pack a wallop in this brief amount of time.

What also makes this boxset special are the three 1976 German concerts the band performs — Cologne, Düsseldorf, and Nürnberg — over the course of four days. Alternating between soft and hard, beauty and grit, Dio takes Rainbow to the mountaintop with the intent of crumbling its accompanying surroundings. Blackmore’s guitar playing gets its much-deserved workouts, especially on tracks like “Catch the Rainbow.” “Man on the Silver Mountain” takes a blues stroll before the power intensifies, while the behemoth that is “Stargazer” wafts through different musical textures and atmospheres before the glorious climax is achieved. Then there’s the brief moments of tribute — the opening refrain of “Somewhere Over the Rainbow” introducing the group to the stage, and Cozy Powell brazenly playing along to Tchaikovsky’s 1812 Overture during “Still I’m Sad.”

Even in its rough mixes and rehearsal tracks (showcased on discs eight and nine), Rainbow doesn’t ease back in terms of its musical output. Listening to the rough mix of “Stargazer,” for example, you wonder why the opening synthesizer melodies and underscoring chords were left out on the final result. Ultimately, it doesn’t matter if you’re listening to the same tracks three or four times, The Temple Of The King 1975 – 1976 proves that not only are you “seeing” stars; you’re clearly hearing five of them as well.

~ Ira Kantor

Purchase The Temple Of The King 1975 – 1976

With some vehement live footage.

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The group brough the song back in Pelham, TN over the weekend.

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Good Day Noir Family,
Cries of Redemption introduce “What Lies Beneath” with a striking sense of restraint, placing Martina Questa’s voice at the center of the experience.

What Lies Beneath is Cries of Redemption’s Single Out Now

The opening does more than highlight her presence; it creates a hypnotic atmosphere shaped by subtle vocal effects that carry a slightly haunted character.

The arrangement remains sparse, allowing the voice to emerge nearly alone, establishing an intimate and focused tone.

The track develops with careful patience. Distorted guitars enter quietly in the background, never overwhelming the vocal line. These layers act as a distant undercurrent, supporting the emotional weight without pulling attention away. The song grows gradually, using shifts in distortion that appear and disappear, maintaining tension without excess.

There is a clear sense that the early sections serve as preparation rather than resolution. The listener remains engaged, anticipating movement that does not immediately arrive. The influence of Lacuna Coil becomes noticeable in the interplay between atmosphere and intensity, though it remains a reference rather than a blueprint.

The turning point arrives around the two-minute and thirty-second mark. The rhythm shifts, building momentum with a controlled rise that suddenly breaks into an ancestral scream. This moment transforms the track, injecting a surge of raw energy that contrasts sharply with the restrained opening.

The song does not remain in that heightened state. It returns to the original theme, but now enriched by additional layers. Background vocals expand the arrangement, creating a broader and more intense closing section. On the other hand, the band maintains clarity, ensuring that each element retains its role within the mix.

Beyond that, Martina Questa’s performance stands out not only for vocal strength but also for expressive control. The accompanying video reinforces this, presenting her against a black background, where facial expression becomes part of the storytelling. The minimal visual approach mirrors the song’s initial restraint, strengthening the overall cohesion.

A carefully constructed piece, “What Lies Beneath” reflects the vision of Ed Silva, whose production shapes every detail with precision and intent.

What Lies Beneath is Cries of Redemption‘s Single Out Now!

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Haunting!

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Cries of Redemption (COR) is an uncompromising musical project led by Ed Silva, built on raw emotional expression and a refusal to follow industry conventions. Blending elements of gothic metal, alternative rock, and experimental influences, COR thrives on intensity, collaboration, and constant creative output.

At its core, the project is driven by a deep connection with outsiders, misfits, and those searching for meaning through music. Rather than chasing trends or metrics, Ed approaches COR as a space for authenticity and shared experience, often working with diverse vocalists from different backgrounds to push artistic boundaries.

With a vast catalog spanning over two decades, Cries of Redemption stands as a relentless and evolving artistic vision, rooted in honesty, emotional depth, and a strong sense of identity.

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Find Cries of Redemption Here:

Spotify
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Blackgazers Deafheaven have an Australian/New Zealand tour in the cards for this July. Among their tourmates for this upcoming run are shoegazers Nothing and hardcore outfit SPY. The latter outfit will be absent amid the two opening dates in New Zealand however. 07/02 Wellington, NZ – San Fran (no SPY)07/03 Auckland, NZ – Powerstation (no…

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In just under two weeks, Doll Fest returns to California’s Bay Area for the second annual edition of its all-femme festival, following the success of last year’s debut. Taking place March 27–29 at The California Ballroom in Oakland, the weekend promises two days of live music, community, and celebration. With the festival quickly approaching, now is the time to secure tickets before they’re gone!

Doll Fest is much more than just a music festival; it’s a celebration. Founded by Maria Chaos, Doll Fest celebrates feminism, community, and the power of supporting one another. After decades of women being marginalized in the music industry, Doll Fest provides opportunities to empower marginalized voices that are often underrepresented. The festival honors activism, the Riot Grrrl movement, and the importance of women’s voices in music, creating a space for empowerment, resilience, and collaboration. By uniting like-minded people through music, art, and culture, Doll Fest amplifies feminine energy and community in a way that is inspiring. As stated on dollfest.net, “We are still battling for true equality against the archaic non-values of patriarchy, still fighting for the power over our own bodies, and still proving our worth as voices to be heard. Doll Fest intends to bring together like-minded folx who embody the true spirit of Doll Fest – through empowerment, resilience, and nurturing of communities. We are anti-homophobia, anti-transphobia, anti-racist, anti-police violence and strictly anti-fascist.”

This year, Doll Fest has expanded the celebration further than just the main weekend. Earlier in the month they hosted a “pre party” in Mexico City on March 6th and 7th, featuring DJ’s, meet and greets, and appearances from artists including Alice Bag, Bloody Benders, Trap Girl, and Ultraviolentas.

The Bay Area festivities begin Friday March 27th with a “pre fest” show at The Ivy Room in Oakland. With the lineup featuring Skip The Needle, Beneath You, Last Minet, and Wonderland Rejects, this undoubtedly is going to be a great time.

The next day, they’re moving things to The California Ballroom where attendees will have the opportunity to support various awesome vendors, make some friends, and enjoy live music from 2-10pm! There are some standout acts on the bill, like The Hellflowers, Suzie True, Descartes A Kant, and VIAL. The celebration continues Sunday, with another powerful lineup that makes it clear Doll Fest is bigger than ever. Performances from Bitchfit, War on Women, Girl in a Coma, and Bad Cop Bad Cop promise a high energy finale that you don’t want to miss. With a weekend packed from start to finish, this year’s Doll Fest proves once again why it has quickly become one of the most exciting and important femme centered festivals in the scene.

Get your tickets here before it’s too late!

It’s benefiting for a great cause, Doll Fest has partnered with Bay Area Girls Rock Camp in an effort to support the the non-profit during a time when their funding is at risk. Donations will be accepted both in person and digitally, and with no presale for this show, just show up and give what you can.

Tickets are available now!

Follow Doll Fest on Instagram for updates, and visit https://www.dollfest.net/ for more information.

Stef G is a melodic metal band rising from the heart of the genre. Led by their frontman Stef G on vocals and guitars, the band combines dynamic guitar work, crushing bass lines, explosive drums and atmospheric keyboards. Their songs are a symphony of contrasts. From hauntingly beautiful acoustic passages to bone-crushing riffs, Stef G’s […]

Montix73 is an independent Italian artist and writer blending melodic metal with cinematic atmospheres and emotionally driven storytelling. His music explores themes of inner conflict, resilience, and transformation, combining modern production tools with a strong personal artistic direction. Montix73 has released his new single Inside the Forest of Mind. It is a dark and atmospheric […]