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Asia has confirmed Indigo as the title of its next studio album, due out Nov. 6, 2026 via Frontiers Music Srl. The record marks the first full-length outing from the band’s current lineup of Geoff Downes (keyboards), Virgil Donati(drums), John Mitchell (guitar) and Harry Whitley (bass, vocals).

The official video for “Echo of You,” the album’s second single, is streaming below.

Downes broke down the track’s evolution: “This song was part of the main writing sessions between Harry and I. It took on a whole different angle in the latter stages of development with more of a focus on electronica and a spacey production. It’s a happy, uplifting tune, despite the nostalgic overtones of the lyrics, a love song with a twist. It all ends in a chaotic mix of counter themes, chord changes, and features a good old-fashioned fadeout as a nod to nostalgia, and I believe is a very fitting conclusion to the album, Indigo, hopefully leaving the listener on a high.”

More than 40 years removed from helping define melodic progressive rock, Asia returns with an album that ties its past to its present without losing a step. With Downes now leading a refreshed lineup, the band is moving forward while still leaning on the legacy that built its name.

Downes traced the record’s long road to completion: “The initial writing period began in 2015, following the release of our previous album Gravitas in 2014. John Wetton and I started putting our ideas together, aiming to get into the studio once more. It was with great sadness that John became seriously ill, during this time, and we had put on hold our plans, and sadly John passed away before we could continue and complete it. So, it was always in my mind that at some point it would be a shame not to finish off some of these songs and finally release them as part of an Asia album.

“In 2023, when the tribute concert for John took place, I was so encouraged by the response to Asia‘s music that I viewed this as the perfect opportunity to re-establish not only the band, but also to reunite with our long-time supportive label, Frontiers, paving the way for us to get back in the studio.”

He continued, detailing how the current lineup fell into place: “So, Asia was back in the room, so to speak, and we were very fortunate to have recruited Virgil Donati and John Mitchell, both of whom had worked extensively with John before, as well as our new vocalist and bassist, Harry Whitley. The tours followed to great success throughout 2024 and 2025, and finally we sat down towards the end of last year to record the album. Working with these fine musicians was a great privilege and the music just seemed to flow.

“The album was really a joy to make. I forged a close writing relationship with Harry, and I felt how great was to be working with someone who had very similar musical influences and taste once again, just as I did with John. I feel that this is one of our best albums to date. The songs are deep in musicality, with a powerful and original performance, dynamics and strong lyrical undertones, it’s an album that hopefully our fans will widely appreciate, and support our cause to put Asia back on the map. Enjoy the ride!”

Recorded across 2025 and produced by Downes and the band, with Mitchell handling mixing and mastering, Indigo keeps the band’s signature sound intact while giving it a noticeably fresh charge.

The album carries real emotional weight tied to Asia‘s history. It includes two of the final compositions from the late John Wetton, “Tattoo Indigo (Parts 2 & 3)” and “Chesapeake Bay,” giving the record a direct link to the band’s past. Whitley‘s vocal performance adds to that connection, with a tone and phrasing that echo Wetton‘s in ways that feel far from coincidental.

Sonically, Indigo builds on Asia‘s modern-era catalog while pulling in touches of the band’s earliest records. Expect the same mix of big melodies and dense arrangements that made “Heat of the Moment” and “Only Time Will Tell” into staples. The tracklist also brings in some notable guests: Steve Howe adds acoustic guitar to “Chesapeake Bay,” while Mike Portnoy of Dream Theater appears on the bonus cut “Tattoo Indigo (Part 3).”

Downes also touched on lead single “The Traveller (Into the Light)”: “The first track off the album is a high-power-energy piece with a few elements of prog trickery but retaining the accessible-chorus block, which was always a signature of Asia‘s music from the very beginning.

“Harry and I started working on this as one of the early ideas that seemed to come together very organically. Virgil‘s dynamic and innovative drums parts drive the piece along, while John‘s soaring guitars keep the momentum. Harry‘s vocals are commanding and my keyboard parts hold the wall of sound together. It’s a song of great optimism, mainly about looking forward to the future and travelling ‘into the light.’ Play it loud!”

Off the back of a busy stretch of touring across the U.S., Japan and Europe, Asia is gearing up to hit the road again.

The post ASIA Unveils “Echo Of You” Video From Their Upcoming Album “Indigo” appeared first on Sonic Perspectives.

by Prog Nick

It seems that fans have finally abandoned their demand for a version of Pattern-Seeking Animals (P-SA) that is a replacement act for Spock’s Beard. The Beard are, of course, back and thriving with a new drummer and a new album, and this fact is satiating most fans. P-SA, if indeed they ever intended to be a Beard replacement (which now seems highly doubtful), simply never conformed to that expectation. They have always sounded intentionally different, and that is ok.

For those who might not know, P-SA are Ted Leonard (vocals and guitars), Jimmy Keegan (drums and vocals), Dave Meros (bass and vocals) and John Boegehold (synths, mellotron, guitars, mandocello, vocals and main composer.) The Spock’s Beard connections, of course, are strong: Leonard and Meros remain members of The Beard, Keegan is a respected ex-member, and Boegehold was an erstwhile co-composer for the band, particularly during its post-Neal Morse phases.

It seems to me that today, P-SA is really Boegehold’s project, even though he eschews performing with the band live. As the main composer, his very particular sound is stamped all over P-SA’s recordings, and the band’s latest (and sixth) album, ‘Grimalkin’, is no exception.

Apparently a ‘grimalkin’ is a supernatural grey cat that becomes a witch’s familiar, as dramatized in Shakespeare’s ‘Macbeth.’ The album has a suitably proggy title then, but the traditional prog stylings mostly end there, with the album featuring largely uncomplicated time-signatures, soulful vocal ballads and mid-tempo rock arrangements that are more cinematically elaborate than classically progressive. Of course, the legendary performance skills of Leonard, Keegan and Meros are not easily diluted into anything that could be described as uninteresting, and there are some recognisably proggy moments on the album to be sure, but you should not expect the composition or production to present anything like the next Close To The Edge.

Having said that, the album is a generally pleasing foray into the highly visual mind of John Boegehold. He seems to enjoy delivering image-laden compositions that consistently describe cinematic narratives and vivid filmic themes. This approach is bolstered by the consistent use of instruments that might well be used by the music supervisors or arrangers on such movies – such as trumpet/horns for Western themes, organs for supernatural moods and tympani and strings for dramatic effects. The result is that in many places, this album does not sound far removed from a film soundtrack, and the film in question happens to be a cross-genre one.

There are four longer tracks (of eight minutes or so) in ‘Maybe All a Dream’, ‘A Flower Yet to Grow’, ‘Break Away’ and ‘Slowly Falls the Flying Man’, with the latter two tracks being the undisputed high points of the album. The remaining four tracks are more concise and to the point, being ‘Jade Sky’, ‘Things I Don’t Do’, ‘Traveler on the Wrong Road Home’ and ‘I Dream the World.’

‘Maybe all a Dream ‘ starts with an extended cinematic soundscape introduction that thankfully soon gives way to a solid 7/4 rock groove from Keegan and full, warm performances from the band, including a jolly clap-along chorus. The harmonies are particularly polished and the instruments highly varied – a technique that has become synonymous with Boegehold’s work. At one point the track slows to half-time and an excellent, note-bending guitar solo is delivered by Leonard before the song fades away with some wistful flute.

‘A Flower Yet to Grow’ starts promisingly enough with a dainty piano melody, after which Meros takes over with his thunderous bass tone, showing that he remains one of the most recognisable bassists in modern music. Leonard’s vocal range is tested in this song, but as always, he somehow conquers the extreme registers demanded of him. As far as the arrangement goes, the slow mid-section takes the risk of sounding a little schmaltzy, and the Oriental stabs that follow it could certainly have been cut. But the track is rescued by Leonard’s consistent vocals, as well as his delivery of another fine electric solo, this time using a languid but very crisp guitar tone.

With ‘Jade Sky’, the cinematic instrumentals sound a little too much like a spaghetti western, and the track seems to have been written in a key that is slightly too high to be suited to Leonard’s fine voice. Meanwhile, ‘Things I Don’t Do’ is a short ballad about lost love. It has a very beautiful melody, and Leonard’s voice is very well harmonised with a female backing vocal, but the dramatically spoken phrase ‘It’s meant to be’ does slightly interrupt the melodic flow.

‘Break Away‘, on the other hand, is a lot more adventurous and features some very interesting sections, especially the chorus, which is quite intricate. There is an omniscient keyboard arpeggio that pops up with regularity during the song, and it is very pleasing and new -sounding. Leonard seems to be singing about the details of a murder scene, and one feels that ‘Break Away’ is therefore perhaps the one track that should have featured more cinematic soundscapes, yet ironically, it works well without them. The innovative mid-section gives way to another highly melodic Leonard lead solo and one realises that he really is an underrated guitarist. Meros’ always massive bass sound is featured on the track and he even gets the chance to solo for a few bars before the coda section. A varied and rounded production, ’Break Away’ is, all in all, a very good song indeed.

One cannot help but be curious if leaving off the Mexican/Western-sounding horns out of ‘Traveller on the Wrong Road Home’ would have benefited an otherwise great track featuring Leonard at his best. His delivery of the lyrics, paired with the strings solos, are more than enough to express the desert theme of the song, and this renders the horns somewhat redundant, to my ears at least.

Matters become quite medieval and Tudor-sounding in ‘Slowly Falls the Flying Man’ which is far and away the best track on the album. At over eight minutes, this track achieves the true vision that one believes Boegehold must have held for this record. Built around Leonard’s always fine vocals, the song develops into a perfect exposition of taste, variety, balance, and emotion. After the Tudor intro that is accompanied by Leonard’s plaintive vocal, the band ushers in some fine slow Rock, and these two styles alternate like a pendulum for the rest of the song. The core of the song is a wonderful vocal progression section in 7/4 that will please any Melodic Prog aficionado out there. The track is full of tasteful surprises, including a recorder solo, an excellent Joe Deninzon violin solo, a Keegan marching snare section, a very competent Boegehold synth solo, straight-ahead rock parts, odd-time instrumental sections, harmony vocals and so much Prog. Mission more than accomplished with this excellent track – if you want a taster of the best of this album (and possibly of this band), ‘Slowly Falls the Flying Man’ is the one to listen to.

The album closes with ‘I Dream the World’, a more than acceptable pop song with a very catchy hook. It could have been recorded in the 1980’s, but it also features some innovative modern Boegehold keyboard tones.

The album was produced by John Boegehold and mixed and mastered by Frank Rosato, with artwork and design by Laura Nagel and Thomas Ewerhard. To my ears, the audio production is of a high quality (particularly Keegan’s drum mix), though some have commented that the album sounds somewhat generally too compressed for their tastes. I am not one of them. While this might not have the detail and power of say, a Rich Mouser production, I feel that it is a full, balanced, clear and well-mixed production.

After repeated listens, I have indeed come to enjoy ‘Grimalkin’ more and more. The regular cinematic references notwithstanding, it is a well-written album with predictably excellent performances from some of the most accomplished veteran performers around. It is clear that John Boegehold has a vision for P-SA, and that vision is to take the abounding talent in this band, utilise it in a dedicated, targeted way, compose good Rock songs for it, and employ cinematic soundscapes to set those songs apart. Whether you like the use of Mexican horns in Rock Music or not, the point is that this cinematic technique makes P-SA sound somewhat different to the rest of the bands out there, including Spock’s Beard. And that, as I said, is more than ok.

1. Maybe All a Dream
2. A Flower Yet to Grow
3. Jade Sky
4. Things I Don’t Do
5. Break Away
6. Traveler on the Wrong Road Home
7. Slowly Falls the Flying Man
8. I Dream the World

https://thebandwagonusa.com/collections/pattern-seeking-animals/products/pattern-seeking-animals-grimalkin-cd-pre-order

 

The post Pattern-Seeking Animals – Grimalkin (Album Review) appeared first on The Prog Report.

Pretty Girl returns with Body Step, a sleek and hypnotic house track built for movement. Warm synth textures, rolling grooves, and subtle progressive and trance influences create a fluid club atmosphere, while her own vocals add an intimate human touch to the production. The track carries a strong sense of freedom and physicality, balancing peak-time energy with a hazier, late-night mood. Rather than relying on excess, Body Step allows its groove to develop naturally, drawing together melodic details and understated vocal moments. Deep, immersive, and effortlessly danceable, it marks a confident return from Pretty Girl.

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Way back in 1988, the former Napalm Death member Justin K. Broadrick got together with fellow young Birmingham musician B.C. Green to form Godflesh, a duo who combined slow, heavy music with psychedelic textures and electronic techniques like drum machines and sampling. Their 1989 debut Streetcleaner was hugely influential in the realms of extreme metal, industrial, and noise-rock, as well as all the places where those things overlap. Over the years, Broadrick and Green kept Godflesh intermittently active, building a vast and inspiring discography. Now, Godflesh’s days are numbered, but they have a couple of albums left to go before calling it quits entirely. One of them is called Decay, and it’ll come out next month.

The post Godflesh Announce New Album <em>Decay</em>: Hear “Living/Ending” appeared first on Stereogum.

When a dude covers a classic Robyn song, things can go very, very wrong. Yesterday, for instance, the deeply annoying but fast-rising pop artist Malcolm Todd sang “Dancing On My Own” in a Gap commercial that also features Obsession star Inde Navarrette. (She’s innocent in all this.) We thought about posting that ad just to make fun of it, but what would we even say? It fucking sucks. It’s depressing. It makes me wonder whether I even like “Dancing On My Own” as much as I thought I did. Here, look:

The post Yung Lean – “Robotboy” (Robyn Cover) appeared first on Stereogum.

– August 12th, 2026 –

“Exsequiis” Full-Length From Australian Thrashers To See Release On September 11th Via Metal Blade Records

Photo by Rob Brens

Watch/stream HARLOTT’s “The Joyful Stain” HERE

“The Joyful Stain” is the latest single from long-running Australian thrashers, HARLOTT. The track appears on the band’s upcoming Exsequiis full-length, set for release on September 11th via Metal Blade Records!

The band comments, “‘The Joyful Stain’ is an homage to ‘the lucky country’ that we call home. A second-rate first-world dystopia governed by corruption, stupidity, and indifference.”

Watch HARLOTT‘s video for “The Joyful Stain” HERE.

Watch HARLOTT‘s previously released video for “Trial By Liar” HERE.

After a six-year gap, Exsequiis marks the boldest leap forward in HARLOTT‘s career. Denser, harsher, and more confident than ever – a razor-sharp sound picture built on world-class guitar work, relentless momentum and lyrics that cast a jaundiced eye over our bitterly divided world. The death of the gods, delivered by thrash metal artisans in the prime of their lives.

“Detritus Of The Final Age (2020) was a great experience in digging out sounds and ideas that we would have been too trepidant to explore,” explains guitarist/vocalist Andrew Hudson. “For Exsequiis, we went further into that, but with the confidence that it would work as it had done before.”

When describing the band’s creative process on Detritus Of The Final Age, Hudson notes, “Whether it’s lyrics or riffs or breakdowns, I always make sure that every song has at least one bit that makes you go ‘fuck yeeeeah.’” With Exsequiis, Harlott tripled-down on this strategy, ensuring the “fuck yeeeeahs” are continuously overlapping for 46 minutes. Although undoubtedly a band with their own intrinsic identity, there is still much fun for the dedicated thrasher in spotting specific inspirational moments – a pinch of Arise-era Sepultura here, a ’90s Overkill groove there, the odd touch of Testament technicality or crossover gang chant. However, when asked what HARLOTT regards as thrash metal’s gold standard, the response is unequivocal: “Does anyone ever answer this question with something other than Reign In Blood?” Rick Rubin’s razor-sharp, in-your-face production on Slayer‘s 1986 benchmark release is a fair pointer to the sound of Exsequiis, the band’s fullest, harshest sound picture yet. Bassist/vocalist Tom Richard’s bass is especially well served, with an interesting tonal dominance in certain passages, but every layer is rammed upfront for maximum head-caving impact.

Lyrics remain in the depressingly real world, the band preferring not to embroider some supernatural phantasmagoria but instead casting a jaundiced eye over our bitterly divided current climate. “It’s been a pretty interesting time to live through politically and socially,” admits Hudson. “Disinformation appears to be the new normal and a population obsessed with content creation and online participation has really exposed some things that I think we were all probably happier being ignorant of.“

HARLOTT‘s Exsequiis will be released on CD and digital formats as well as vinyl in the following color variants:

“Coagulation” ASideBSide (EU – Ltd. 500)

Find pre-orders at: metalblade.com/harlott

Exsequiis Track Listing:
01. Incipiam
02. Void
03. Messiah Simplex
04. Trial by Liar
05. The God That Knows No Name
06. Kleptogenesis
07. A Still More Glorious Dawn Awaits
08. The Joyful Stain
09. Endling
10. Vice Borne
11. Exsequiis

HARLOTT Live:
9/11/2026 Juz – Burghausen, DE
9/12/2026 Nuclear Intervention Fest – Kadov u Blatné, CZ
9/13/2026 Garage Pub – Krakow, PL
9/15/2026 Music-House – Graz, AT
9/16/2026 Escape – Vienna, AT
9/18/2026 MK Bar – Esch-sur-Alzette, LU
9/19/2026 Namenlos – Bonn, DE
9/20/2026 Zentralcafe – Nuremberg, DE
9/23/2026 Bambi Galore – Hamburg, DE
9/24/2026 Mukkes – Leeuwarden, NL
9/25/2026 Musicon – The Hague,NL
9/26/2026 Hellfort – Bruges, BE

“Our mates keep pumping out some heavy fast riffs. Crushing grooves, some super tricky right hand speed picking, catchy melodies with ripping leads, and raw AF vocals. Thrash metal doesn’t get much better than this!” – Brian Hopp, Cephalic Carnage

HARLOTT:
Andrew Hudson – guitar, vocals
Tom Richards – bass, vocals
Leigh Bartley – guitar
Glen Trayhern – drums

https://www.instagram.com/harlottofficial
https://www.facebook.com/HarlottOfficial
https://harlottmetal.bandcamp.com/music

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Oaly blends synthwave influences with a modern club-oriented electronic sound on In my head, turning the emotional aftermath of being ghosted into a melancholic yet energetic dancefloor experience. A rolling bassline and relentless four-on-the-floor kick provide the track with constant forward momentum, while atmospheric synths add a nostalgic electronic edge. The contrast between vulnerable lyrics and driving production gives the song its appeal, transforming feelings of uncertainty and absence into something physical and immersive. Sleek, melodic, and rhythmically focused, In my head finds an effective balance between retro synth textures and contemporary club energy.

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(Former NCS writer TheMadIsraeli returns after a long absence with the following review of a new album by the Toronto death metal band Apogean, which was released on July 10th by The Artisan Era.) It sounds so fucking stupid to say, but a pretty good barometer of a good album especially if you’re on the […]

The post APOGEAN: “WASTE WHERE LIFE BEGINS” appeared first on NO CLEAN SINGING.

Ritchie Blackmore is coming out of retirement, at least for one song. The 81-year-old guitarist confirmed he will join Deep Purple onstage Wednesday night (August 12) at the Northwell at Jones Beach Theater in Wantagh, N.Y., marking his first appearance with the band in more than three decades.

Blackmore, who parted ways with Deep Purple in 1993, broke the news during an Instagram Live session with his wife, Candice Night, on Tuesday (August 11).

Blackmore said in part (transcribed by Blabbermouth), “There is something we wanted to mention about tomorrow night… Well, it is a secret and I don’t want anybody to know, but I’m probably get up and do an encore with the band, Deep Purple. But you can’t tell anybody, and I know that this is gonna be kept a secret. And will it? I suppose so.”

Asked how the guest slot came together, Blackmore described reaching out to Deep Purple frontman Ian Gillan through a rather modern method: “I actually called up… I didn’t call him up, I sent my A.I. pigeon to [Deep Purple singer] Gillan in Portugal, where he lives at the moment. And I said, ‘How would you feel about if I got up just for an encore? Just one of the songs. I don’t want to intrude.’ And I said, ‘No pressure, just kind of [for] old times’ sake.’ I’m 81 now. So he seemed to love the idea, put it to the band, got a thumbs up, and it looks like we might be doing that.”

Blackmore is already thinking through logistics for Wednesday’s show.

“I have my roadie there kind of now, setting up my amplifier,” he said. “But I’ll be using a small amplifier, but it’s very loud. It’s what I use when I record. I hope I can compete with the [current Deep Purple] guitar player [Simon McBride], ’cause I can see that he has very big amplifiers behind him.

“So, it’d probably just be the one number, as it’s been a while. I changed my strings on my Strat, which I haven’t done in over 25 years… I hope the guy out in the front can turn me up. I’ve got my roadie there for a soundcheck.”

Night noted that the song won’t be “Highway Star,” since Deep Purple is opening the show with that track, according to Blackmore.

Blackmore also spoke candidly about the physical toll of getting back onstage, referencing a severe vertigo attack in late 2025 that forced him off the road, along with ongoing battles with gout, arthritis in his fingers and feet, and past heart trouble.

“I did have my injection in my lumbar area yesterday,” Blackmore said. “It’s a special injection I have that enables me to stand in one spot, because if I’m playing a Strat on stage, I have a hard time with the shoulders and the lumbar area. I’ve got four herniated discs, if anybody wants them.

“And I had my injection yesterday of a steroid which helps me get through standing up on stage. But I do have a kind of a stool there just in case I start toppling over or something. But I know that Ian Gillan has his maladies too with his eyesight, I think. And so as you get older, you collect all these things… And fusion is out of the question. That’s too big a job. But the stem cell stuff looks interesting.

“So I’m kind of recovering from that at the moment. I’m on steroid. And it’s very hard to sleep when you’re on steroids, but I’m on one steroid. And thanks to the doctors at Stony Brook [University Hospital]; they were excellent. I didn’t feel hardly any pain. But I think we’ve all got something to complain about. I just have more things to complain about than usual. And if don’t complain, I’ll find something to complain about.”

Turning back to Wednesday’s reunion, Blackmore had kind words for the two guitarists who filled his shoes in Deep Purple: “[Simon] is a very good guitar player. As was, and is, [former Deep Purple guitarist] Steve Morse, is a great guitar player.

“So, that’s gonna be interesting. I have not played rock music in 25 years, actually.”

That claim glosses over the fact that Blackmore put his post-Deep Purple project Blackmore’s Night (which also features Night) on hold in 2016 to reform Rainbow for a run of shows, his first rock dates in 19 years.

“It’ll be good to see the old guys again,” he continued. “I think we’ll all be on crutches and wheelchairs and things, although I think the rest of them are okay. But, yes, it’s kind of frightening. I haven’t played rock in 25 years… I’ve been playing acoustic guitar for 25 years, and at first I was very uncomfortable playing it, but I got used to it, and now I’m used to playing the acoustic more so than the electric.”

Blackmore said he wanted to get word out ahead of time because, in his words, “I just thought it might be an idea to let a few people know ’cause I think a lot of people would like to see that. So hopefully my guitar stays in tune, and I can play whatever song is going to be played. It’s just the one song, I think.”

Blackmore’s Night‘s catalog leans into what the pair calls Renaissance or medieval music, with Night typically writing lyrics and Blackmore composing the melodies. The couple and their two children live on Long Island near Port Jefferson.

Blackmore co-founded Deep Purple and penned several of the band’s signature riffs, including “Smoke on the Water,” but hasn’t performed with the group since leaving in 1993. During his years away, he launched the neo-classical outfit Rainbow, which started out blending baroque influences with hard rock before drifting toward a more radio-friendly pop-rock sound.

Blackmore stepped away from Blackmore’s Night in 2016 to run a short Rainbow reunion with an entirely new lineup: singer Ronnie Romero, Stratovarius keyboardist Jens Johansson, Blackmore’s Night drummer David Keith, bassist Bob Nouveau (born Robert Curiano, formerly of Blackmore’s Night), and backing vocalist Lady Lynn, alongside Night herself on backing vocals.

Two of those 2016 Rainbow shows in Germany were filmed and released that November as Memories in Rock – Live in Germany.

After his final split from Deep Purple in 1993, Blackmore had already reformed Rainbow once before, releasing Stranger in Us All in 1995 and touring behind it until wrapping up in Denmark in 1997.

Blackmore skipped Deep Purple‘s 2016 induction into the Rock and Roll Hall of Fame, previously claiming the band’s manager kept him from attending, an explanation he leaned on for his absence. He still got plenty of mentions during his former bandmates’ induction speeches that night. Metallica drummer Lars Ulrich, who handled the induction, singled out “Ritchie fucking Blackmore” for crafting one of rock’s most iconic riffs on “Smoke on the Water.”

The post DEEP PURPLE Co-Founder RITCHIE BLACKMORE Says “I Haven’t Played Rock In 25 Years” Ahead Of Surprise Encore appeared first on Sonic Perspectives.

Van Chamberlain turn up the volume on Fantasy TBD, delivering a cathartic and hook-driven indie rock track packed with saturated guitars, driving drums, and a restless sense of release. The song channels the frustration of breaking away from an unhealthy attachment, balancing sharp lyrical imagery with an empowering sense of independence. Its production deliberately embraces distortion and raw energy, giving the track a beautifully unrestrained character that matches its emotional theme. Beneath the noise, strong melodies and memorable songwriting keep everything focused. Loud, urgent, and emotionally liberating, Fantasy TBD captures the exhilaration of finally letting go and moving forward.

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