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Designer explode with messy romantic obsession and swaggering garage-rock energy on Feverdream, a punchy rock’n’roll burner loaded with infectious hooks, fuzzy guitars, and reckless emotional urgency. The band lean fully into the chaos of longing and self-destruction, turning repeated pleas and feverish desire into something loud, catchy, and undeniably fun. Beneath the raw garage-punk exterior lies a sharp pop instinct, with choruses that hit instantly and linger long after the distortion fades. Feverdream feels wild, dramatic, and slightly unhinged in all the right ways — a late-night heart spiral wrapped inside sweaty rock club energy.

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 Call me ignorant, but I thought the band Europe went away after their big hit “The Final Countdown”.

Apparently, they never stopped making music, and I found this on my YouTube feed this afternoon:

Pretty polished and very catchy, and makes me want to hear the rest of the album, which is due September 25.

What do you all think??

PAM WHISENHUNT | Go Venue Magazine

It was a beautiful spring night in Omaha, Nebraska May 8th 2026 when Wage War brought their It Calls Me By Name Tour to The Admiral Theatre. From the first note to the final song, the crowd made it clear they had zero interest in standing still.

Orthodox opened the night, and if you weren’t already familiar with them, all you needed was about thirty seconds to get the picture.  They were heavy, frantic, and absolutely relentless. The strobe lights were so intense they practically needed a health warning slapped on the venue doors. About three songs from the end of their set, the vocalist called for some two-stepping, and the pit answered. The pit also did something I hadn’t seen before: a kick line locked in like the Rockettes had wandered into a metal show. It was absurd and awesome all at once. Sirens wailed as the band built into a massive breakdown, vocalist Adam Easterling demanded “I don’t care where you are in this room,” “everyone put your horns up” and they obliged. Orthodox left the stage having done exactly what an opening band should: get the crowd wound up and ready for more.

Nevertel came out next with a different kind of energy. Nevertel blends nu-metal with hip-hop-infused verses and melodic hooks, drawing comparisons to Linkin Park and Bring Me the Horizon. That genre-blending sound is exactly what had some in the crowd questioning whether they belonged on this bill. Not heavy enough for a Wage War show, they said. But Nevertel wasted no time proving themselves, opening strong with arguably their biggest hit, “Break the Silence.” Both Jeremy Michael and Raul Lopez paced the stage and engaged the crowd. About five songs in, Lopez dropped down to the rail and commanded a circle pit and the crowd was more than happy to deliver. They asked how many people had never seen Nevertel before, and a surprising number called out but that didn’t matter, because they were clearly vibing with them. At one point the lights dimmed, cellphone lights came on, and the entire room swayed. When they played “Everything in My Mind,” the recognition was unmistakable. Kalie Wolfe, vocalist of Rivals, joined them onstage lending her vocals, and as she left, the band sent her off with a “Love you, Kalie.” Through it all, Nevertel repeatedly reminded the crowd: “If someone falls down, pick them up.” Clean or not, that kind of intention fits this metalcore crowd just right.

Finally, the main event, Wage War.

The first time this photographer’s love for Wage War hit was at The Truman in Kansas City, April 2023. The song “Manic” drew me in and that show sealed the deal. Catching them on this run was a must. Wage War opened with “4×4” off their new EP It Calls Me By Name, and the weight of it hit immediately.  Heavy and catchy, destine to be a Wage War classic. The second song “Alive” went way back to the beginning but felt as fresh as a new release.  “NAIL5” rounded out the first three songs. When “Tombstone” and “Low” dropped mid set, the crowd was chanting all the words. The pit was fluid, almost alive with circle pits, crowd surfers, and bodies moving side to side, wall to wall. It had been a long time since I’d seen a pit that active.

Seth Blake stepped to the mic and asked if anyone saw him fall into the weeds. He laughed it off saying, “No you didn’t!”. Mentioning it seemed to be a recurring incident.  Next the crowd was handed a choice: “Relapse” or “Who I Am.” It wasn’t close. “Who I Am” won outright.

After a pounding “Death Roll” Cody Quistad asked if they could slow it down for a minute, promising there were plenty more breakdowns still to come. Quistad and Blake were the only ones remaining on stage for a stripped-down acoustic version of “Gravity.” Briton Bond eventually made his way back to the mic, the three of them delivering an impressive harmonious ending to the song.

Bond then stood alone to start “Circle the Drain,” this time with a subtle synth texture woven underneath. The band wrapped up the set with “Purify” “Magnetic,” “Stitch,” and “Manic,” telling the crowd that Omaha had been the best stop on the tour so far.

The encore was “Blindfold” and “Song of the Swamp.” The essence of a Florida swamp was on full display as the song started off with green lights flashing like fireflies against the dark stage, frog chirps and swamp sounds rose before the band crashed in. Ending the night with two songs from their newest EP is a testament to how far they’ve come in the last ten years and how much further they’re going. It’s some of their best work to date.

High energy, start to finish. The crowd was dialed in. Wage War delivered an unforgettable night. There are plenty of dates left on this tour. Get out and catch a show. It’s money well spent.

Wage War

Nevertel

Orthodox

[See image gallery at www.govenuemagazine.com] All images © Pam Whisenhunt

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The post Wage War Brings their It Calls Me By Name Tour to The Admiral Theatre appeared first on Go Venue Magazine.

SEVEN KINGDOMS has announced their 6th full length record Sono Sola. The band will return to their long established crowdfunding model with a plan to release the record in the fall. The crowdfunding campaign will launch on May 26th and run until June 26th. 

Guitarist Camden Cruz shares, “We are really excited for this record! We took a lot of new chances on this record and got to spend a lot more time working on it. The record contains the soul of this band. We bring the highest level and heaviest release of our career to you with this album. We worked again with Jim Morris who wrote and produced the record with us. We also worked on the record with Francesco Cavalieri who also helped produce songs with us on this album. Sabrina is at the top of her game and the band is firing on all cylinders. It will be your favorite Seven Kingdoms album. We cannot wait to share this with you!”

Producer Jim Morris comments, “This is the most melodic and heaviest Seven Kingdoms record that we have ever done. We got to spend more time than ever working on the music. I am very excited for this new music and I believe it’s going to open a lot of new doors for the band!” 

Sono Sola was recorded at Morrisound Recording in April and May 2026 with Jim Morris (SAVATAGE, WARRANT, DEATH). SEVEN KINGDOMS wrote the record together with Jim Morris, who also produced the record along with co-producer Francesco Cavalieri (WIND ROSE). The album artwork for Sono Sola was done by Bo Bradshaw. The Track listing will be released at the end of the Crowdfunding Campaign along with more news. 

SEVEN KINGDOMS:

Sabrina Cruz – Vocals
Camden Cruz – Guitars
Kevin Byrd – Guitars
Keith Byrd – Drums

Connect With SEVENKINGDOMS:

Apple Music: https://music.apple.com/ca/artist/seven-kingdoms/269540019

Facebook: https://www.facebook.com/SevenKingdomsOfficial

Instagram: https://www.instagram.com/sevenkingdomsofficial/

Spotify: https://open.spotify.com/artist/0PMYvG0U25tgSi8jQExPAC?si=Zd59_nhbQeKrYGN4dUI7Cg

Tiktok: https://www.tiktok.com/@sevenkingdomsofficial

YouTube: https://www.youtube.com/@sevenkingdoms

Source: C Squared Music

In January 2016, having just released an album in ‘Too Many Gods’ and begun to attract attention for its seventies inspired, yet original, songwriting, Cats in Space made their live debut at the Half Moon at Putney, which I was … Continue reading →

The post Gig review: CATS IN SPACE- Half Moon, Putney, London, 26 April 2026 appeared first on Get Ready to ROCK!.

The collision of two of metal’s most influential forces has finally arrived. Motionless In White have officially released their brand-new single, “Playing God”, and it features a guest appearance that has sent the community into a frenzy: the one and only Corey Taylor. This collaboration marks a monumental moment in modern heavy music, blending Chris Motionless’s gothic-infused metalcore with Taylor’s unmistakable, visceral aggression.

“Playing God” is a blistering attack on the toxicity of social media and the self-appointed judges of the digital age. The track showcases a perfect synergy between the two vocalists, with Chris’s soaring choruses providing a haunting contrast to Corey’s bone-shaking verses. It’s a sonic masterclass in atmospheric tension, driven by the industrial-tinged riffs that have become MIW’s signature.

A Collaboration for the Decades

The single comes as the first taste of Motionless In White’s upcoming studio album, Decades, slated for release later this year. According to Chris Motionless, working with Taylor was a “full-circle moment” for the band, who have long cited Slipknot as a primary influence. The accompanying music video, which dropped simultaneously, is already racking up millions of views, featuring a dark, cinematic aesthetic that perfectly complements the track’s lyrical themes.

For fans of both bands, “Playing God” is everything a collaboration should be—a seamless fusion of styles that elevates both artists. As MIW prepares for a massive world tour alongside Lorna Shore and Fit For A King, this single has officially set the bar for what modern metal can achieve in 2026.

Playing God is available now on all major streaming platforms. The era of Decades has officially begun.

The collision of two of metal’s most influential forces has finally arrived. Motionless In White have officially released their brand-new single, “Playing God”, and it features a guest appearance that has sent the community into a frenzy: the one and only Corey Taylor. This collaboration marks a monumental moment in modern heavy music, blending Chris Motionless’s gothic-infused metalcore with Taylor’s unmistakable, visceral aggression.

“Playing God” is a blistering attack on the toxicity of social media and the self-appointed judges of the digital age. The track showcases a perfect synergy between the two vocalists, with Chris’s soaring choruses providing a haunting contrast to Corey’s bone-shaking verses. It’s a sonic masterclass in atmospheric tension, driven by the industrial-tinged riffs that have become MIW’s signature.

A Collaboration for the Decades

The single comes as the first taste of Motionless In White’s upcoming studio album, Decades, slated for release later this year. According to Chris Motionless, working with Taylor was a “full-circle moment” for the band, who have long cited Slipknot as a primary influence. The accompanying music video, which dropped simultaneously, is already racking up millions of views, featuring a dark, cinematic aesthetic that perfectly complements the track’s lyrical themes.

For fans of both bands, “Playing God” is everything a collaboration should be—a seamless fusion of styles that elevates both artists. As MIW prepares for a massive world tour alongside Lorna Shore and Fit For A King, this single has officially set the bar for what modern metal can achieve in 2026.

Playing God is available now on all major streaming platforms. The era of Decades has officially begun.