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A new force is rising in heavy music.

After more than a decade at the forefront of modern metal, internationally acclaimed vocalist Alissa White-Gluz is entering a powerful new chapter with the launch of her new band, BLUE MEDUSA.

Known for her commanding voice, unmistakable stage presence, and trailblazing role in extreme metal, White-Gluz has built a career defined by momentum and reinvention. Widely recognized as one of the longest-serving female death metal vocalists, she has spent two decades performing on the world’s biggest stages and earning a reputation as one of the genre’s most electrifying frontwomen.

White-Gluz was at the forefront of Arch Enemy’s most successful years in the band’s history, expanding their global audience and performing on the world’s biggest metal stages. Across multiple bands, collaborations and projects throughout her career, White-Gluz has consistently helped push heavy music into new territory. Now, with BLUE MEDUSA, White-Gluz sets her sights on pushing that legacy even further.

Fans can expect the same signature ferocity, theatrical energy and vocal firepower that have defined White-Gluz’s career, now unleashed in a fresh, expansive and electrifying setting.

“Blue Medusa is the next evolution of everything I’ve been building toward for years,” says White-Gluz. “It’s my creative melting pot. Everything fans enjoy about the energy, intensity, and performance they’ve always experienced on stage with me over the past two decades is still here, even stronger. That is me, that is who I am and who I’ve always been. And now it’s amplified and unleashed in a fully sovereign artistic vision. Our music has blazing guitar solos, crushing riffs, brutal vocals, fast and aggressive drums, thoughtful melodies and most importantly (to me), really cogitative lyrics.”

Known for pairing ferocious vocals with thoughtful and introspective lyricism, White-Gluz’s writing channels catharsis, resilience, philosophy and intellectual and emotional depth.

BLUE MEDUSA consists of a trio of world-class musicians; White-Gluz has guitarists Alyssa Day and Dani Sophia at her sides. “The musical chemistry I feel with these women is really bringing me back to life. It is so refreshing and exciting,” says White-Gluz of her fellow gorgons. On stage, on drums and bass, White-Gluz hints that two women at the top of their musical game will be joining her; Delaney Jaster and Alicia Vigil respectively.

“I specifically chose to share this news on International Women’s Day because building stronger platforms for women in heavy music is something I care deeply about. I am brewing up a lot of ideas right now, my brain is in full creative flow. I’ve been carving my own path in this genre for a long time, and I want to help pave the way for the next generation of women who love metal as much as I do. Medusa turned people to stone… I want to pave the road in sapphire.”

With new music coming very soon and live performances already lining up with the band’s live debuts at Louder Than Life and Aftershock festivals, BLUE MEDUSA is taking off like lightning and marks the beginning of an exciting new era for metal fans.

More details will be announced soon.

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The post Extreme Metal Icon ALISSA WHITE-GLUZ Unleashes New Band BLUE MEDUSA appeared first on Go Venue Magazine.

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A little over a year after the release of their third album, “Dying Age“, Hungarian Atmospheric Doom project Faded Remembrance is set to release their new album, “The Blessing of Downfall“, on 15 May on the Bitume Prods label. Ahead of the album’s release, Faded Remembrance has unveiled the single “The Blessing of Downfall“, which is available on streaming platforms, as well as a music video […]

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Equal Vision Records, kill iconic records and Resilia are excited to announce the Friday, May 1 release of By A Thread, the debut studio album from

Melodic punk rock outlet Gucci Chain Letter, a new band formed by longtime veterans of the Vancouver and

Later this month, on March 27th, Finnish stoners Monsternaut will release their sophomore record entitled Approaching Doom. It was engineered and mastered by A. Kippo at Astia-Studio A. To taste a first piece of the new music, give a listen to the title track.
Read more…

The scene birthed some of the biggest acts in rock history. Continue reading…

Mid-Michigan melodic alt-rock band Silktail returns with their strongest release to date, A Better Place Than Me. The five-song EP, recorded

Entering a new era with a revitalised line-up and renewed positivity, Polar have stormed stages at Resurrection Festival,

At one time, anarchy and punk rock went hand in hand, taking the side that we should be a society without rulers, government, or established authority. While a good number of punk rock bands still believe in these principles, somewhere along the line, the idea of no government got put to the wayside. Yet, the roots of these beliefs started in London in the early 1970s at the Centro Ibérico. This has been documented in Nick Soulsby’s new book, Born of Struggle, Living in Hope: The Anarcho-Punk Lives of the Centro Ibérico 1971-1983, reminding us that anarchy wasn’t just an aesthetic, but had a physical presence.

Started by anarchist Spanish writer Miguel García García, the Centro Ibérico began with his printing of the Anarchist Black Cross Federation’s newsletter, Black Flag. Soulsby documents some of García’s past which included fighting Nazis in World War II and later being exiled from Spain. These details give us the spirit and intention of García’s vision for the Centro Ibérico. The center he founded served as a place for anarchists to meet and discuss ideas, and morphed into a venue for bands to play for a portion of the center’s twelve-year history.

Nick Soulsby’s writing is very accessible. His retelling of the anarchy movement paints a different picture than previously reported. The text is broken up by pages of pictures and newspaper clippings from Black Flag or other publications. Sometimes he provides the full articles to give context rather than break up the narrative. 

The book is very well researched and features interviews with a good number of people telling the history and personal histories of the Centro Ibérico, but it’s not overrun with interviews. They are actually more sparse than expected. There were sentiments that some of the true anarchists were upset at punks’ co-option of anarchy, mostly aimed at the Sex Pistols who seemed to be commercializing their ideas.

Soulsby’s book doesn’t just beguile us with politics. The anarcho-punk bands of the late 1970s and early 1980s have their roots intertwined with the center’s history. He also traces how the anarcho-punk scene emerged in regards to the center. For you Crass and Poison Girls fans, part of this book is a bit of an extended footnote on their histories, with both bands playing the Autonomy Centre, a meeting place and music venue put together by like-minded anarchists. Eagle-eyed fans would remember the mention of it in the liner notes of Crass’s Christ The Album. Even Wattie from The Exploited gets a mention in a somewhat funny exchange.

What is clear is that a scene was being built and funded by the bands and the people who wanted it to flourish. The Centro Ibérico may not have been as long-lasting as some of the venues, but it is still poignant in the ways communities grow. We’ve reached the point in punk rock history books where authors can fully flesh out aspects that were once footnotes in earlier pieces of work. I think it’s a good place to be, and Nick Soulsby’s book is a great read if you are into the scene’s history rather than just the music.

Pick it up here from PM Press.