Italian Classic Hard Rockers Voodoo Highway have released the first single and video, ‘Serpent’s Choir‘ from their new album ‘The Satan Inqviesta‘ (out: Septeber 18th, 2026) via Pride & Joy Music today. Voodoo Highway was formed in Ferrara, Italy, in 2010. In the same year, the band released their self-produced debut album, ‘Broken Uncle’s Inn‘. […]
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Keb’ Mo’ has released a reimagined version of “Hand It Over” featuring Soweto Gospel Choir, the latest single from his upcoming album The Breakdown, which arrives August 21 via Concord Records.
Originally released on Keb’ Mo’s 1996 GRAMMY-winning album Just Like You, the new version of “Hand It Over” was recorded at Flame Studios in Johannesburg, South Africa. The studio is housed in a former prison where Nelson Mandela was held during the Rivonia Trial.
About the song, Keb’ Mo’ explains, “I’m excited to share my collaboration with the Soweto Gospel Choir. Recorded at Flame Studio in Johannesburg, South Africa. Once again, I’m makin’ my mama proud by performing her favorite song of mine. And thank you to the SGC for going on this journey with me!”
“Hand It Over” follows the recent release of “Fussing and Fighting,” the first single from The Breakdown, which was accompanied by a live performance video.
The upcoming 10-song album was recorded at Keb’ Mo’s home studio outside Nashville during a difficult period in his life. Just months after recording “Hand It Over,” he underwent life-saving open-heart surgery after experiencing shortness of breath while on tour. During the same period, he was also dealing with the end of his nearly 20-year marriage.
Reflecting on the experiences that shaped the album, Keb’ Mo’ says, “I had to go through some difficult experiences to get these songs, but I learned a lot looking back on my life and my relationships and taking inventory of everything in a new light.”
He adds, “I’m turning 75 this year, and I know I won’t be around forever. All you can do is make the most of what you’ve got and be grateful for every step of the journey.”
The Breakdown, due out August 21 via Concord Records, features 10 tracks, including collaborations with Take 6 on “They Don’t Make ’Em Like They Used To” and the Soweto Gospel Choir on “Hand It Over.”
TRACK LIST
01. Fussing and Fighting
02. Every Step of the Way
03. They Don’t Make ’Em Like They Used To (feat. Take 6)
04. More Yesterdays
05. We Make Love
06. Walking on Water
07. Hand It Over (feat. Soweto Gospel Choir)
08. Living in the Moment
09. Stitched Up Heart
10. One Day Away
The post Keb’ Mo’ reimagines “Hand It Over” appeared first on Blues Rock Review.
50 years, 17 albums, over 2,500 shows under their belt – Iron Maiden show no signs of stopping.
On 10-11 July, Maiden celebrate their half-century in style, with Eddfest, an Iron Maiden party in the grounds of Knebworth. To mark it, Classic Rock and Metal Hammer have teamed up with Maiden to create a killer-collectible: the official programme and museum guide!
Eddited by Iron Maiden Fan Club Edditor Alexander Milas, the programme features exclusive interviews, including founder Steve Harris looking back at over 50 years of heavy metal mayhem, plus the official guide to the Infinite Dreams Experience, the open-air Maiden Museum full of stage props and Maiden memorabilia collected over a half-century of historic tours.
There’s an all-new interview with Blaze Bayley, archive content from the pages of Metal Hammer and Classic Rock (and sister magazines like Guitarist, Guitar Player and more), a letter from Rod Smallwood, interviews with the festival’s many guests, chats with Maiden artists Alberto ‘Akirant’ Quirantes and Hervé Monjeaud, the inside story of Trooper beer and more besides.
The programme is going to become a must-have collector’s item – so get it while you can. Available at the festival or via our exclusive pre-sale on the Classic Rock and Metal Hammer online store.
PLEASE NOTE: ANY PRE-ORDERED ITEMS WILL NOT BE DELIVERED BEFORE EDDFEST IN JULY.
They are Iron Maiden. Hallowed be thy name.
The ever-hardworking Hard-Ons have released another two new records.
Prefaced by the new single My One Regret, their long-awaited full-length collaboration with hardcore legend Jerry A is out on August 4 as a download and on vinyl, with limited edition vinyl variants and even a cassette version.
The band’s recording history with the Poison Idea frontman goes back to 1993 when he wrote and song on The Blade from Too Far Gone. In 2025 and earlier this year, the Hard-Ons, minus Tim Rogers, toured Europe and the US with Jerry out front, recording the Hard-Ons/Jerry A release along the way.
Never a band to rest on their laurels, they’ve also done a Korean-language mini-album with Ray handling vocals in support of their upcoming South Korea visit. This four-track vinyl treasure features Korean versions of Where Did She Come From?, Raining, Just Being With You and Suck and Swallow. That’s available for pre-order from here.
Check out My One Regret below.
Members and alumni of (Damn) This Desert Air, Hidden Cabins and more are featured in this collective.
The post Covert Stations Enlist Vision Of Disorder’s Matt Baumbach For Their Cover Of Cheap Trick’s “The Flame” appeared first on Theprp.com.
Posted on June 26th 2026, 12:18pm
“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?
With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.
In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.
The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.
Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.
Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026
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