(written by Islander) On June 26th of this year Transcending Obscurity Records will release the third album by the French band Verdun, and their first one in a long seven years. Its name is Abyssal Womb. As the label describes, it represents an evolution of the band’s music into “a form of blackened sludge with […]
The post AN NCS PREMIERE: VERDUN — “LA LAME ET LA CHAIR” appeared first on NO CLEAN SINGING.
Extreme guitarist Nuno Bettencourt spoke with Eddie Trunk at the Monsters Of Rock 2026 festival on April 4 in São Paulo, Brazil, and came with things to say about the band’s forthcoming seventh studio album — the follow-up to 2023’s Six. Spoiler: he’s a fan.
Bettencourt said (transcribed by Blabbermouth): “We’re still finishing the recording. We just wrapped up some drums. Gary‘s [Cherone, Extreme singer] on deck, Pat‘s [Badger, Extreme bassist] on deck. But as far as the songs, we got a great crop of, like, 20 songs to choose from. And we’re pumped.”
Bettencourt continued: “Look, every band’s gonna tell you their next album’s [the best one]: ‘Wait till you hear it. It’s unbelievable.’ But no, we’re actually authentically excited. One of the things that we noticed after doing ‘Six’, and in rock and roll in general, it’s a bit of a famine out there when it comes to new albums, especially from bands from our generation. So we wanted to really do a ‘rock rock’ album.
“Extreme has always been very known for being kind of eclectic, and we always take left and right turns. And we kind of sat down and we said, ‘What if we just do an AC/DC record, a Van Halen record?’ Not like them, but they always did… Not that there’s no ballads, but it’s, like, let’s just keep pouncing and pounding. So we’re excited. It’s a true rock and roll album, and it’s nonstop. And we’re super pumped about it, super excited.”
As for when to expect the thing, Bettencourt told Trunk: “What we’re trying to do is we’re hoping to drop the album — it probably has to be towards the end of the year, but we’re hoping to do a single per run, like maybe for the summer, for the Def Leppard [European] tour, maybe in June drop our first single, maybe for the Mötley [Crüe U.S. tour] drop a second single, just to get things excited.”
Then Bettencourt went full press conference — the kind that makes you wonder if the album can possibly live up to the buildup: “It’s time for the fucking Super Bowl for us for real, as a band. And this album — I told the [other] guys [in the band], ‘This album is everything for us. It’s everything. This is our career. The whole thing is this next fucking album.’ So we have an opportunity to do something for ourselves — not for anybody else, for ourselves — and raise that fucking bar for ourselves and let everybody know that we are a rock band.”
He continued: “I’m telling you right now — I never get excited about anything, I don’t brag about anything, I don’t talk about stuff, but I cannot wait to play you [the new songs]. Honestly, I think we did something on this album that is so much better than the last album. And what I mean by that is that we cracked the fucking code. It only took 40 years, but we cracked the code. And what I mean by that is I said to myself, ‘You know what? If I could go back in time to Extreme playing clubs before they had a record deal… and now it’s 2026, what is that version, the back-to-the-future version but the modern bitchslap, heavy, punch-somebody-in-the-fucking-balls funk version of Extreme, the authentic Extreme that you’ve heard nobody else do it this way, that’s what we’re [doing on this new album].’”
Bettencourt added: “We are so excited, like little giddy children that wrote some music. And not like, ‘Man, you watch what we’re gonna do.’ I don’t give a fuck if nobody likes it. I’m just telling you that it’s the best thing that we can do that might be one of the best things we’ve ever done, I think, because of the passion and because of where we are in our lives going, like, who the fuck gets a chance, a second chance to have a second go-around… just for doing it for the love of it.”
Six (2023, earMUSIC) was Extreme‘s first studio album since 2008, debuting at No. 10 on Billboard’s Top Album Sales chart. Bettencourt has since cemented his profile further with a widely praised appearance at Ozzy Osbourne‘s “Back To The Beginning” farewell concert and serving as music director and guitarist at the 2025 MTV VMAs, delivering a tribute to Osbourne alongside Steven Tyler, Joe Perry, and Yungblud.
The post NUNO BETTENCOURT On EXTREME’s Upcoming Album: “We Cracked The F***ing Code. It Only Took 40 Years” appeared first on Sonic Perspectives.
“Macabre Masquerade” instantly resonates with intensity. From the start, it welcomes the listener with a rhythm reminiscent of a Valkyrie ride. This introduction transports one into a dark realm, reminiscent of a horde of skeletal figures and zombies advancing ominously. The atmosphere is thick and unsettling, generating a sense of dread and intrigue.
The vocal performance is particularly striking. The raw, gritty growl is distinctive, setting the band’s metal sound apart from others. This voice evokes an otherworldly feel, suggesting it comes from beyond, drawing listeners deeper into an underground abyss. It resonates with a bleak authenticity that enhances the song’s atmosphere.
The rhythmic structure of the track is engaging. There are moments where the music slows down, providing a chance to breathe before the intensity resumes. This dynamic approach adds depth to the experience. The listener is kept on edge, anticipating the next surge of sound.
At around one minute and thirty seconds into the song, an atmospheric ambiance emerges. This poignant shift creates a space for a beautiful guitar solo that follows. The solo is both ancestral and technical, featuring rapid passages that evoke a sense of ritual. This portion characterizes the band’s artistry and technical skill.
The blend of various elements forms a seamless narrative of darkness and tension. Each section contributes to the overarching theme, culminating in an ending that feels climactic and haunting. The final moments conclude with a chilling scream, compelling the audience to press play once more. It does not merely finish.
The overall composition of “Macabre Masquerade” reflects a deep understanding of musicality and atmosphere. The band successfully conveys a message through its sound, leaving the listener with a lingering sense of mystique and intrigue. This single stands out as a remarkable addition to their discography, effectively showcasing their unique identity within the metal genre.
The amalgamation of haunting melodies and aggressive instrumentation creates tension throughout the song. The heavy use of growls juxtaposed with melodic passages has a striking effect, showcasing the band’s versatility. This dynamic interplay keeps the listener engaged from start to finish.
The clarity of each instrument adds to the sinister feel of the track. This level of craftsmanship allows each element to shine. The mix feels both raw and polished, enhancing the emotional impact of the music.
“Macabre Masquerade” is a formidable single that encapsulates the essence of The Velvet Lies. It excels in merging emotion with intensity, offering more than mere entertainment. This track deserves recognition as a significant contribution to the metal genre.
It’s a beautiful, if unsettling, exploration of dark themes that does not shy away from intensity. Each listen reveals new layers, inviting repeated engagement and exploration.
While it may not be for the faint of heart, those with an appreciation for unique metal forms will find much to love here. The Velvet Lies have solidified their place within the scene with this evocative piece, ensuring listeners will eagerly anticipate their next release.
Dark
If you love this music: Discover MoreThe post The Velvet Lies Macabre Masquerade Review appeared first on Edgar Allan Poets – Noir Rock Band.
As founding member and principal songwriter of The Pineapple Thief, Bruce Soord has spent the last decade steadily refining a voice that balances emotional directness with musical restraint. Set for release on May 15th, Ghosts In The Park, his latest solo album, is his most personal and unguarded work to date: a record shaped by loss, memory, and the quiet spaces that reveal themselves when life continues to move while everything else appears to stop. Bruce has shared the first single from the album, titled ‘Pillars’ alongside a new video produced by George Laycock.
On this new podcast, Bruce Soord talks about his new solo album “Ghosts in the Park,” new record label for TPT, upcoming album and tour, and more.
Host: Roie Avin
Written over a two-year period while Soord was touring extensively with The Pineapple Thief, the album emerged in hotel rooms, unfamiliar cities, and moments of enforced solitude. Against this backdrop, Soord was navigating the drawn-out decline and eventual death of his father, alongside the continued progression of his mother’s Alzheimer’s. These experiences form the emotional spine of Ghosts In The Park – grief in motion, memory surfacing unpredictably, and the quiet determination to keep moving forward.
Bruce Soord – Ghosts In The Park
https://brucesoord.lnk.to/Ghosts_In_The_Park
Concepcion [01:25]
Pillars [03:10]
Meet Me On The Downs [03:05]
Kept Me Thinking [06:34]
Day Of Wrath [04:21]
Our Predicament [03:43]
Stared Down [04:33]
You Made A Promise [02:56]
Ghosts In The Park [12:52]
The post Bruce Soord Interview – Ghosts in the Park appeared first on The Prog Report.
From the incipit of the album, the opening track “The Wind Sighs” introduces listeners to a classic and intense rock experience with an engaging rhythm. The sound of the keys adds a psychedelic effect reminiscent of the 70s and 80s, enhancing the overall atmosphere of the song. This blend of nostalgic textures and vibrant energy sets a promising tone for the entire album.
Following this, “Summer Rain” begins with an almost dreamlike introduction. It showcases the visionary creativity of the band. Drawing inspiration from past musical influences, the track emits bluesy vibes intertwined with a unique perspective. This song captures a spirit that could easily resonate with the audience at Woodstock, reinforcing the band’s dedication to timeless music.
“Count the Days” unfolds with a kaleidoscopic synth introduction. This track allows listeners to appreciate beautiful harmonies that expand the sonic space. The layered vocals add depth to the overall composition, creating a rich audio experience. It reflects the band’s ability to blend modern sounds with retro influences effectively.
Next is “Kanonikotita,” a track that evokes ancestral connections to the band’s Greek heritage. It possesses a progressive essence, delivering a fantastic exploration of rhythm changes and intensity that takes the listener’s breath away. The mastery displayed in this piece highlights an understanding of musical storytelling, connecting tradition with innovation.
“The Night is Coming Soon” exemplifies the band’s technical capabilities, as it develops a syncopated rhythm drawing on progressive, jazz, and avant-garde influences. The cleverly constructed melodies demonstrate how the band possesses a clear vision, crafting high-quality music that resonates on multiple levels. This complexity adds layers to the listening experience.
“Missing Worlds” emerges with an oracular quality, showcasing a unique development that keeps the listener engaged. Here, one can sense echoes of The Doors. The visionary essence of this song illustrates the band’s desire to transport its audience through imagination and sonic exploration.
Overall, this album stands out as a fantastic collection of music. It offers an invigorating journey through time, demonstrating the band’s ability to merge the old with the new. Each track holds a distinct identity yet contributes to a cohesive listening experience. Fans of classic and progressive rock will find much to enjoy in this endeavor.
The musicians show remarkable skill and creativity, as evidenced throughout the album. Their influences are diverse, and they honor those roots while forging their unique sound. This combination of homage and originality is refreshing and speaks to the growth and ambition of the band.
“Timeless Afternoon” is a remarkable effort worthy of attention. It provides a blend of nostalgia and innovation that appeals to a wide audience. Each track invites listeners on a journey, making it an essential listen for any rock enthusiast. The passion and dedication inherent in this music shine brightly, marking the band as a noteworthy presence in contemporary rock.
Visionary
If you love this music: Discover MoreThe post Timeless Afternoon Self-Titled Album Review appeared first on Edgar Allan Poets – Noir Rock Band.
Earthside has released a new single, “A Dying Star,” the first taste of new music from the band’s next chapter. An official visualizer for the track is out now.
The band described the song in a statement: “‘A Dying Star” is yours. With chaotic intensity cranked to the max, “A Dying Star” bludgeons the senses with the fury of a meteor shower and the heart-wrench of a broken dream”.
“A Dying Star” was written during a period of internal strife, with band members geographically separated for the first time in the group’s history. The unusual writing circumstances — only a drummer and piano player available at the initial stage — produced something deliberately chaotic and unconventional. The track was recorded at Luckchild Studio in Val-David, Québec, Canada, with vintage pedals and live-room percussion adding new textural elements to the mix. Keyboardist Frank Sacramone’s piano runs drive the track alongside drummer Benjamin Shanbrom’s force-of-nature playing.
“A Dying Star” closes out the Let the Truth Speak era and marks the start of a new phase for the band. Earthside will be supported by cellist Raphaël Weinroth-Browne across all dates, plus local supports.
Shanbrom said of the upcoming run: “It’s been far too long since Earthside has toured one of our favorite places in the world and our true home away from home — Europe. What was initially our plan for ushering in the new Let the Truth Speak era, unfortunately hit repeated roadblocks due to several difficult circumstances well beyond our control. But by hell or high water, we would not close the second chapter of Earthside’s career without a proper European run, and now we are thrilled to finally meet many of you and reunite with our countless friends on the continent. Expect a show-stopping set, brand new music, and some very exciting surprises. Don’t miss it! We’ll see you out there.”
Earthside live dates:
The post EARTHSIDE Returns With New Single “A Dying Star” and Announces European Tour Dates appeared first on Sonic Perspectives.
Mark Wink’s album “Gimme Some Sugar” opens with “Sugar Sweet,” a track that carries a serene atmosphere. This song features a ska rhythm that elevates the listener’s mood. A female vocalist envelops the listener with her smooth tones, delivering a simple yet refined experience. The positivity of this track paves the way for what is to come in the album.
Transitioning to “Sugar Ballad,” the tone shifts dramatically. This song begins with intense piano chords, accompanied by strings that evoke a cinematic and nostalgic environment. The arrangement creates a profound emotional backdrop, allowing the listener to feel the weight of nostalgia seep in. Wink demonstrates an understanding of music’s ability to conjure memories, making this track a centerpiece of the album.
The next track, “Sugar Chicago Blues,” brings forth a stark contrast with its bluesy undertones. The male vocalist adopts a slightly hoarse delivery, enhancing the barroom ambiance typical of Chicago’s music scene. This gritty authenticity invites listeners into a world where you can almost picture yourself in a dimly lit bar, nursing a drink as the music plays in the background.
Following this is “Sugar Hawaii,” an upbeat track that conjures images of Honolulu’s sandy beaches. This song inspires a longing to dance to traditional Hawaiian rhythms. The spirit of summer permeates the melodies, making it impossible for the listener not to smile. Wink effectively transports listeners to a tropical paradise, showcasing his ability to vary moods and settings throughout the album.
“Sugar Line Dance” is a track that lives up to its title by creating a lively dance atmosphere reminiscent of a Central American local celebration. The energy here is infectious, encouraging listeners to embrace the joy of movement. The imagery of moonshine and dancing boots on the floor is vivid, engaging the audience in a cultural experience that feels personal and inviting.
Then, “Sugar Rock Concert” infuses the album with rock vibes while still incorporating elements of American music. The energetic arrangements and powerful instrumentation prompt listeners to raise their hands in appreciation of the hard rock influences. Wink effectively channels the spirit of rock concerts, offering an exhilarating experience that resets the album’s energy level.
The album closes with “Sugar Special,” a catchy pop track that serves as a fitting conclusion. Its upbeat nature and memorable hooks encapsulate the themes explored throughout the previous songs. The cohesive use of “sugar” as a recurring ingredient ties the album together, unifying the diverse range of genres Wink employs.
Wink’s ability to navigate various musical styles highlights his artistic vision. Despite utilizing innovative technologies to create his music, there remains a solid foundation throughout the album. The blend of different genres showcases Wink’s creative range while keeping the listener entertained.
Overall, “Gimme Some Sugar” emerges as a delightful collection of tracks that celebrate diversity in sound. Each song offers a unique experience, yet together they form a cohesive journey through different emotions and settings. This album is refreshing, inviting a wide array of listeners to indulge in Wink’s exceptional craftsmanship.
The commitment to thematic consistency while exploring different genres is commendable. It is a project that entertains and encourages engagement with its various musical styles. Anyone looking for varied and enjoyable music should consider this album as a worthy addition to their collection.
Joyful
If you love this music: Discover More</div
The post Mark Wink Gimme Some Sugar Review appeared first on Edgar Allan Poets – Noir Rock Band.