Interviews – Sonic Perspectives: Recent Episodes
Sonic Perspectives
Canada didn’t have a festival built entirely around progressive metal until Jici and Ed decided that was a problem worth solving themselves. ProgStorm launched in Montreal as the country’s first festival dedicated exclusively to the genre, and its second edition arrives considerably bolder than its first: Cynic, Car Bomb, and Pure Reason Revolution headline a lineup that also carves out real space for the genre’s next wave, acts like Nospūn, Fractal Sun, and An Abstract Illusion. Car Bomb returns to Montreal after 15 years away. Pure Reason Revolution makes its first North American appearance in two decades. Bands are crossing oceans to play a festival that didn’t exist three years ago, and fans are crossing them right back just to be there.
We caught up with co-founders Jici and Ed to talk about what the first edition taught them, how they’ve built a lineup that spans everything from technical extremity to atmospheric restraint, the logistics of coordinating international bookings for a niche audience, and why they think prog metal fans, wherever they’re from, tend to find each other and feel a little less alone once they do.
Secure your tickets for ProgStorm 2026 here.
ProgStorm has grown significantly between its first and second editions. What lessons did you learn from the inaugural festival that directly influenced your plans for 2026?
Jici: The first edition definitely gave us the confidence that we were able to grow into something bolder, like securing an iconic venue such as Club Soda and reaching out to top-class bands like Cynic, Car Bomb, and Pure Reason Revolution, just to name a few. We also realized during that first edition that our intuition was right and that there was definitely a scene for this kind of niche prog metal festival, not only in Montréal, but also among so many dedicated prog fans from all over the world who are ready to get on a plane just for this. And contacts, that’s the big one that makes all the difference.
Ed: The first edition was a huge milestone that really brought us together as a solid team and gave us a strong framework for how we do things. Everything was brand new back then, which came with its share of unique challenges and surprises. But we lived through it, learned from it, and this time around, we actually planned for it! As Jici said, building contacts is a major factor, but I also think many bands and fans have heard of us now and know how well we host. For a niche community like prog metal, word of mouth goes a very long way.
Montreal has a rich metal history, but progressive metal has traditionally been underserved by dedicated festivals. What convinced you that the time was right to launch Canada’s first festival devoted entirely to progressive metal?
Jici: The story is that my bandmates in Voidchaser and I had just been invited to ProgPower Europe, and we were so excited about it. At some point, we started talking about why we didn’t have our own prog metal-specific festival in Montréal, or even in Canada. That’s when I decided we should just do it ourselves. The next day, we had a meeting with The ProgSpace, and soon after I called my friend Eddy because I had a feeling this was something he would love to be part of. I think I was right!
Ed: I think we both grew up feeling envious of all the amazing festivals and tours that happen largely outside of North America, and I think we’ve always had that question: Why not here? Montreal has a rich metal history, as you say, and more than a handful of bands here have been pushing the music genre for decades now. So why not here? I had that same question after playing at ProgPower Europe with The Anchoret the year before I returned with Voidchaser, but I somehow accepted that it was the natural order of things. Until I received Jici’s call asking me: Why not? I don’t think I needed that much convincing at that point, haha!
This year’s lineup balances legendary names like Cynic, Car Bomb and Pure Reason Revolution with newer acts such as Nospūn, Fractal Sun and An Abstract Illusion. How do you approach building a lineup that appeals to longtime prog fans while also introducing them to the genre’s next generation?
Jici: Having our own progressive metal bands, Voidchaser and The Anchoret, and being inspired by the many bands in the genre makes us very aware of the community, what bands have great momentum, which ones are the next big things, and which ones have already made a big impact on this music. I’d say it’s both a logical process and a very intuitive one. It’s difficult to qualify, but we’re constantly talking about potential additions to future lineups.
Ed: I think we somewhat act as each other’s soundboards, throwing out ideas and seeing what sticks, what makes sense. I think we are fans first, and being part of the community, we understand and appreciate the music and the bands. And, we love discovering new acts that blow our collective minds. Because of this, one of the festival’s mission statements is to give a platform and showcase lesser-known bands that we truly believe deserve to be seen and heard and supported!
Was there one particular band you considered your biggest “get” this year, either because of scheduling challenges or because you’ve wanted them since the festival was first conceived?
Jici: Wilderun, Anciients, and Nospūn were some of the first bands we thought about when we first started planning ProgStorm. We reached out to them for the first edition, but it didn’t work out at the time. So we’re very happy to finally have them for the 2026 edition! We’re very proud of all the bands on the lineup, but of course being responsible for bringing Car Bomb back to Montréal after 15 years, Pure Reason Revolution back to North America after 20 years, and presenting the North American premieres of bands like An Abstract Illusion and Vulkan is incredibly special. On top of that, allowing these bands to share the stage with a legendary band like Cynic… all of this is a very special feeling.
Ed: Oh, there are definitely a few pie-in-the-sky bands we are proud to present this year…but I don’t think I can choose a favourite. As Jici puts it, all of this is truly a very special feeling.
Many of this year’s performances are rare North American appearances or long-awaited returns. How difficult is it to coordinate these bookings, especially for bands with limited touring schedules?
Jici: Inviting bands from another continent, like An Abstract Illusion, Pure Reason Revolution, Vulkan, or Fractal Sun, is definitely a challenge, but not an impossible one. Some of them are coming for a simple fly-in, fly-out, while for others we’re helping produce a couple of Canadian shows after the festival.
Ed: I think that because this is our second edition of the festival, we have a lot more experience with managing time zones and coordinating touring schedules this time around.
Progressive metal has become remarkably diverse, encompassing everything from classic prog to djent, technical death metal and post-metal. How important is stylistic diversity when curating ProgStorm?
Jici: It is very important, actually. Of course, the identity of ProgStorm Festival is that it’s a festival dedicated to progressive metal. But the way we see it, the genre is not monolithic. There are many subgenres, and there’s a continuum between the extreme and the more melodic, or between the technical and the emotional. We try to bring together fans of all these different styles under one roof.
Ed: What exactly is Prog, anyway? It’s the eternal debate amongst fans and musicians alike. I think we enjoy heavy, dramatic, complicated, avant-garde, and button-pushing music as a whole and that seeps into the Progstorm identity of “progressive metal,” which is, if you think about it, a very umbrella term for such diverse music.
What has surprised you the most about the response from fans outside Canada? Have you seen attendance from countries or regions that exceeded your expectations?
Jici: Especially during the first few months of ticket sales, it’s mostly people from outside Canada who buy their tickets because they’re planning a trip around the festival. It’s something that amazes us every single time, seeing hundreds of people crossing oceans and traveling hundreds or even thousands of kilometers to come to our festival. We’ll never take that for granted.
Ed: The response has been absolutely incredible. Seeing this humble new festival grow into a major destination for so many people is a beautiful shock we are still trying to process. As I’ve mentioned, growing up, I was always envious of the amazing festivals and tours across Europe. Now, seeing so many European attendees flying directly to Montreal just for ProgStorm is truly surreal. In a way, ProgStorm has become both a destination and a bridge—bringing people together from all corners of the globe and making the world feel just a little bit smaller.
Independent festivals face enormous logistical and financial challenges. What has been the biggest obstacle in turning ProgStorm from an idea into a sustainable annual event?
Jici: Like any business, the first few years are much riskier. But Eddy and I have had many conversations about our risk tolerance because we deeply believe in this project, both in the short and long term. We’re learning a lot by observing more experienced promoters, and we do our best to put ourselves in the best possible position to face those challenges. We want to do this for at least as long as our friends at ProgPower Europe and ProgPower USA, who have recently celebrated, or are about to celebrate, their 25th anniversary.
Ed: Risk tolerance and resource management are a big one, for sure. It is important for us to keep the festival true to our vision and stay independent. The first edition acted as a proof of concept, but this still is a very niche festival, and so I think a big challenge is finding sponsorship.
How involved are the artists themselves in shaping the festival experience? Do bands ever recommend other acts or influence future booking decisions?
Jici: We have a lot of bands recommending other bands to us, or encouraging them to apply for ProgStorm, and we’re always open to that. The friends of our friends are our friends, so it always helps us make contact or know that we probably share similar values with a band if they’ve been recommended by a band we already trust.
Ed: All in all, the prog metal community is a very small, tightly-knit one where word of mouth goes a long way. As cliché as this sounds, ProgStorm really is the friends you make along the way – the relationships you develop shape us as human beings and have more than a hand in shaping the festival.
If someone has never attended ProgStorm before, what do you think they’ll discover here that they wouldn’t experience at a larger, more mainstream metal festival?
Jici: The French-Canadian hospitality! I think part of the stereotype about us is true, and it shows in the way we treat every artist and every person attending the festival. We do our best to make everyone feel welcome and important. Also, the prog metal community is an incredibly passionate one. When a prog metal fan meets another prog metal fan, it’s like you feel a little less alone for a second, and you instantly know you share the same love for weird music (and I mean that as a compliment).
Ed: The vibrant city of Montreal has a welcoming character, but the sense of community and passion ProgStorm has for its city, the people, and the music is really hard to put into words. Expect to be welcomed, to have a great time, discover your new favourite band, eat poutine and make new friends!
The progressive metal scene has become increasingly fragmented into subgenres. Do you see ProgStorm as a festival that celebrates that diversity, or are you trying to define a broader identity for modern progressive music?
Jici: We leave room for the different subgenres within progressive metal, and that creates space for extreme bands like Dawn of Ouroboros, Car Bomb, and Greylotus, as well as more atmospheric and contemplative bands like Pure Reason Revolution or Hillward, for example.
Ed: We’re all for diversity and discovery! Progressive music is hard to pin down to a single style, and I think that this is what really makes us love it even more! The important thing with ProgStorm is to present the best possible context for all the different bands to shine and complement each other.
Five years from now, what would success look like for ProgStorm? Are you hoping to remain an intimate destination festival, or do you envision expanding into one of North America’s premier progressive music events?
Jici: With time, I simply hope that people from Montréal and beyond will continue coming together at ProgStorm Festival for a full weekend celebrating the music we all love. I hope people will come to see Montréal as an important destination for progressive metal, where they’ll be used to seeing both their favorite artists at ProgStorm and rare gems making their Canadian or North American debut. That’s my vision.
Ed: Exactly! Being a destination, a meeting point for this beautiful community of music lovers is the only metric of success I truly, deeply care about. The sense of community, more specifically of giving back to the community that has been so kind to us and our bands and projects, is really at the crux of why we do what we do.
Are there any dream headliners or reunion performances that remain at the top of your wishlist?
Jici: Yes, and I’m not going to tell you who they are, but stay tuned, because we already have some of them planned for the 2027 edition!
Ed: Haha! 2027 and beyond! But yes, let’s keep the surprises – it is half the fun after all!
How do you balance commercial realities with artistic ambition when booking a festival aimed at such a passionate—but relatively niche—audience?
Jici: We have a very clear vision for ProgStorm, and because we have that vision, we find solutions around it. Passion comes first, then business and finances find a way.
Ed: It’s not as much of a tightrope as it seems, more like two different buckets altogether. First comes passion, as Jici puts it – always! The rest follows organically, and keeping our goals in mind and close to the heart, decision-making becomes that much easier.
If you could change one misconception people have about progressive metal today, what would it be?
Jici: Some people think prog is just musical masturbation. They have a hard time with odd time signatures, microtonal music, or complex techniques. For me, music and art in general don’t have to be pretty; they can also be disruptive and uncomfortable. Prog metal is a form of art that allows for so many emotions because it pushes the limits of what’s musically possible. That’s something I love about the genre: being moved, surprised, or even disturbed… reacting to music I never could have imagined.
Ed: I’ll ask again, what exactly is prog? I think Prog is all about the musical journey. It’s a long-form type of media format that exists despite social media increasingly pushing for smaller and shorter, one-and-done formats. Prog is not only about pushing the limits of technical ability, but about saying something new and leaving the world a better place for it.
The post Inside ProgStorm’s Ambitious Second Edition: North America’s Newest Destination For Progressive Metal appeared first on Sonic Perspectives.
Thirty years in and fifteen albums deep, Sevendust made a deliberate choice with their newest album, One, to stop trying to make a deliberate choice. No overarching concept, no sonic direction, no pressure to be heavier or leaner or more polished than the last album. Just five guys, Lajon Witherspoon [vocals], Clint Lowery [guitar], John Connolly [guitar], Vince Hornsby [bass], and Morgan Rose [drums] writing songs and seeing what survives.
The result is ten diverse and muscular songs, introduced by the title track “One,” which sets the album’s tone off with a brooding riff, an unshakable groove, and Lajon’s unmistakable melodic voice. Songs like “Unbreakable” lean into a big, soaring chorus built for live crowds, while “Threshold” injects a sharper, more progressive edge, offering some of the album’s deeper moments. It’s an album that showcases a band deep into its career yet still hungry to push its sound forward.
In my interview with Morgan Rose, he offered an insightful, often humorous look at the creation of One. Rather than approaching the album with a predetermined direction, Morgan explained that the band abandoned the idea of forcing a specific sound and instead focused on writing the strongest songs possible. He also described the importance of the sequencing process, ensuring that One flows like a complete listening experience rather than simply a collection of songs.
L to R: Clint Lowery, Morgan Rose, Lajon Witherspoon, Vince Hornsby, John Connolly – Photo by Chuck BrueckmannThe result is an album that embraces the full spectrum of Sevendust’s identity with deeply personal themes. He also shared the band’s kind yet hilarious way of tossing a member’s idea for a song to the curb. In fact, it even happened to him when pitching an idea.
He went on to highlight the close creative partnership with vocalist Lajon during the making of One, which was unlike anything he had experienced previously. Morgan noted that both men were navigating similar personal struggles and found themselves speaking the same emotional language throughout the writing sessions. He said, “We were both miserable,” with characteristic bluntness. “We were speaking each other’s language, which doesn’t happen all the time.” Songs such as “Bright Side” and “Is This the Real You?” emerged from those shared experiences, blending personal reflection with universal themes that listeners can relate to in their own lives.
Some of the more comical moments came when Morgan revealed he had practiced only once in his life. It was 11:00 pm in MI (Musical Institute) when his roommate called him a loser for never showing up to class. In a drunk “I’ll show you, moment,” he went and practiced. By his own admission, he had no idea what he was doing. The irony of that story is that his playing on One is some of the tightest of his career. His approach sat between two poles: let the groove breathe on some songs, lock the kick drum to the riff on others.
Order your copy of One here.
The post Drummer MORGAN ROSE Explains Why SEVENDUST Threw Out The Rulebook When Writing Their New Album, “One” appeared first on Sonic Perspectives.
Devin Townsend made ten records while writing The Moth. Let that sink in. The album: a sprawling orchestral rock opera that has been gestating for years, was never the only thing on his plate. It was the thing underneath everything else, accruing weight and meaning while life piled on around it.
The result is an album Devin describes as a before-and-after marker in his career. Not because he thinks it is his greatest work in some objective sense, but because of what it represents: a full commitment to doing things entirely on his own terms, with no concessions to accessibility or industry expectations.
“I decided to do it exactly like I want to, exactly with whom I want to, the ways that I want to,” he said. “And if it worked, then I knew that this job was still for me. And if it didn’t, then I knew that I’ve got to figure out something else.”
Robert Cavuoto spoke to Devin about the chaos-and-serenity dynamic that runs through The Moth. Despite meditating every morning, exercising through the week, and striving to maintain an internal equilibrium while everything around him keeps exploding. The music is what that effort sounds like.
“Trying to foster a place of internal equilibrium in a chaotic environment is much more conducive to long-term being able to integrate that into your personality rather than being in a vacuum where there are no problems and then claiming immunity,” he said. “It really matters what your reaction is when shit goes sideways. And the sonic outcome of trying to retain equilibrium in a chaotic environment is music that is simultaneously both things.”
On the question of how to listen to The Moth, Devin declined to offer instructions. Headphones help, he said, but he was deliberate about not attaching a listening guide to the album, because he sees that kind of pre-framing as a form of excuse-making.
The album was never declared finished, so much as abandoned under deadline. Devin is candid about needing external pressure to let go of a project, and said he even courts it deliberately, stretching delivery past the stress point so the final push happens in a focused, adrenaline-fueled sprint. “A project’s never done,” he said. “You just have to abandon it. If I ever made a perfect record, I would never make another record again. What would be my motivation?”
“My value as an artist is my fucked-upness,” he said. “If I chase perfection, when we’ve got a benchmark for that with AI — I’m not perfect. So if perfection is the stock and trade we’re putting into the work, you’re always going to fail.” Leaning into what makes his work idiosyncratic, he argued, is the only honest response to that reality.
As for what comes next, Devin was straightforward. No Moth 2 is planned. No grand sequel or prequel, “The Mothening,” he offered, with a dry laugh. The record exists as a referendum on his own future in music, and he wants the verdict quickly.
The Moth is out now via InsideOut Music. Grab your copy here.
The post “The Moth” Is DEVIN TOWNSEND’s Line In The Sand: “I Did It Exactly The Way I Wanted To, With Whom I Wanted” appeared first on Sonic Perspectives.
When Gentle Giant recorded In a Glass House in 1973, the band was in crisis. Founding member Phil Shulman had just left, reducing the band from a six-piece to five, and the remaining members were far from certain they would carry on at all. The album was written and recorded in roughly four weeks, with an American tour looming and no time to second-guess anything.
“It was a transitional period,” Derek Shulman told Rodrigo Altaf. “What was released was, I think, great music, but not finished the way that we would love to have finished it.”
That unfinished quality haunted the record for decades. A new remix — made possible despite the absence of the original multitracks — has given the album the treatment the band always wanted it to have, and for Shulman, the effect has been genuinely transformative. “It changed for me from an album that was very difficult to listen to, to become my favorite album.”
The darkness in In a Glass House was circumstantial rather than deliberate. Shulman stepped into the frontman role fully for the first time and took on the bulk of the lyric writing. The loss of his brother Phil compressed whatever the band was into something leaner and more brittle. “The album was dark and brittle-sounding because of the situation, both emotionally and probably because I had to embrace being the front man completely,” he said. “It streamlined the band, actually. And I think that’s what In a Glass House was.”
What made Gentle Giant distinct across their entire catalog, and what In a Glass House exemplifies, is a resistance to self-indulgence that other progressive bands of the era struggled to maintain. Shulman credits a short attention span as much as any artistic philosophy.
“We probably had ADD,” he said. “Periods of things where other bands would have three or four minutes or five minutes trying to do something — after four or eight bars of something, we probably got bored with it. We had a very low boredom threshold.” Rather than cutting those passages entirely, the band kept the themes and compressed them. It became, Shulman argued, something unique to Gentle Giant: the structural complexity of progressive rock without the tendency toward navel-gazing.
The band’s isolation from the London scene helped. Based in Portsmouth on the south coast of England, they had no particular interest in what other bands were doing and no awareness of being part of any movement. “There was no such thing as prog back in the day,” Shulman said. “We just did our own thing. We didn’t know what was going on. We didn’t care. We just did what we did for the love of music.”
He also pushed back on the idea that Gentle Giant was ever a solemn proposition. Other bands of their era wanted to be treated with the reverence of an orchestra. Gentle Giant wanted the audience to smile. “We had fun playing our music. We had fun playing together. We wanted the audience to enjoy being part of the experience. So that was being self-indulgent — we indulged in having fun.”
The band played stadiums in Europe and Canada — 30,000 people at the Autostade in Montreal, shows at Maple Leaf Gardens in Toronto — even if American commercial success stayed out of reach. That reality, Shulman said, generated no real frustration. “The most important thing for us was that we were able to play in front of people who enjoyed what we did. And that gave us a great deal of pleasure.”
Gentle Giant disbanded in 1980, and Shulman has turned down reunion offers ever since. The reasoning is simple and stated without nostalgia: “To become a parody of yourself, of when you were younger, would be bad for us,” he said. “Getting into size 30 waist when you’re actually 36 now, putting spandex on when you look like an older guy — it doesn’t work for me, anyway. When we stopped, that was the end of that chapter, and it was a wonderful chapter.”
The chapter that followed took him somewhere few musicians go: straight across to the other side of the music industry. A friend in New York called with an offer to join a new label division. Shulman‘s first instinct was to decline. “You’re becoming Darth Vader from being Luke Skywalker,” he told his friend. He took the meeting anyway, got offered the job, consulted his wife, and moved from Los Angeles to New York.
What he brought to the executive role was something most label heads lack: genuine road experience. “No artist could say to me that you don’t know what it’s like to sleep in a van,” he said. “Because I did know what it was like, having been 14 years on the road.”
The signing that surprises people most is Pantera. On paper, a former Gentle Giant vocalist running a major label division signing a Texas groove metal band makes no obvious sense. Shulman heard no contradiction in it.
The process started with a videotape that Pantera‘s attorney showed him. He thought there was something there, but he went to see them in person before making any decision. That meant flying to Arlington, Texas, to watch them play a club with 50 or 70 people in it. He was the head of the company. He went anyway.
“I know rock, and I know metal,” he said. “But when I went to see them, within two or three songs, I knew that they had something that no other band in that genre had. They had incredible charisma. They had amazing players in Dimebag, Vinnie, Rex, and Phil. Phil was an unbelievable frontman.”
Three songs in, he stopped thinking like an executive. “Within three songs, I became a fan — not just as someone who wanted to sign the band. I knew this band was going to be huge.” He was equally clear-eyed about the commercial obstacles. Radio was not going to touch them. MTV was going to be a fight. None of that changed his read. “If I was convinced after three songs, what I wanted to do was put the band in front of people.” He invested in marketing and road support and gave them the money to tour. When Cowboys from Hell came out, it went top five in its first week.
“That’s how I tried to utilize my experience in Gentle Giant to become an executive,” he said.
Dream Theater came to him differently. Mike Portnoy arrived at Shulman‘s Atco office with a four-track demo of instrumentals and no vocalist. The band knew Shulman‘s background and were banking on it. The music alone was enough to get his attention.
“Wow, this band is great,” he recalled thinking. But Portnoy was upfront: they were still looking for a singer and wanted to do a deal before they had one. Most executives would have shown them the door.
Shulman structured what he called a demo deal instead. He agreed to pay the band’s salaries for six months on one condition: find a singer, keep writing, and come back with something finished. “I thought there was something there,” he said. “I believe there’s something here.”
Three or four weeks later — well ahead of the six-month window — Portnoy was back with the same four songs and a vocalist named James LaBrie. One of those tracks was “Pull Me Under.”
“What I felt in the music was right,” Shulman said. “Now they’ve got the singer, and they’ve actually put the vocals to it. I’m really happy about that.” He signed them to a full deal. Images and Words followed, and Dream Theater became the band credited for bringing progressive metal to the mainstream. LaBrie himself recently told Rodrigo Altaf that Shulman was instrumental in getting the band signed and properly promoted — a debt the band has acknowledged publicly more than once.
The one that got away was Beck. Shulman heard “Loser” and passed. “You can’t bat a thousand, no matter how good you are,” he said. There were others he believed in that never broke through for reasons outside anyone’s control — a Portland band called Dan Reed Network that he was convinced would be massive, and a group called Enuff Z’Nuff whose talent was undermined by what he diplomatically called “their chemical romance.”
On the current state of the music business, Shulman was direct. He sees the major labels as surviving primarily on legacy catalogs, and the music being made today as having, in his view, traded away everything that makes music last.
“Melody and uniqueness and something different have gone out the window to become music which is almost wallpaper,” he said. “And that’s very sad.” The one contemporary act that caught his ear recently was a Canadian band he struggled to name: Angine de Poitrine. “They’re fun, and they’re funny, and they’re good. Something way different from most of the other things out there.”
The In a Glass House reissue arrives with the weight of a record finally getting its due — cleaned up, rebalanced, and freed from the grief that made it hard to hear for so long. For Shulman, it marks the end of a long detour back to something he is now proud to revisit.
Get your copy of the reissue of In a Glass House here.
The post DEREK SHULMAN Talks “In A Glass House” Album Reissue, Signing PANTERA & DREAM THEATER, And Why GENTLE GIANT Will Never Reunite appeared first on Sonic Perspectives.
When Jon Davison joined Yes in 2012, he came in green, riding the momentum of his work with Glass Hammer and holding onto the belief that things with the Heaven and Earth album would come together. They didn’t, at least not the way anyone hoped.
“What we released at best are just polished demos that make up that album,” Davison said in a conversation with Scott Medina. The culprit, in his telling, was producer Roy Thomas Baker, who was in a difficult period personally and, as Davison put it with characteristic generosity, “sort of lost the plot. We were left without a captain running the ship.”
From there, the band fell into touring mode for years. Davison collaborated with guitarist Steve Howe on a record called Love Is, contributed to Arc of Life with bassist Billy Sherwood and drummer Jay Schellen, and waited. Then Howe decided the band should make a record on their own terms — no outside producer, no personality conflicts — and COVID arrived right on cue to clear everyone’s schedule.
“That was the silver lining for all that troubled time,” Davison said.
The result was The Quest, the first of what has since become a trilogy of self-produced albums recorded at Howe‘s studio in the English countryside, with engineer Curtis Schwartz as the steady hand at the board. Mirror to the Sky followed, and now there is Aurora, the most fully realized of the three. Davison credits the run of studio albums with giving the band something that years of touring had never quite managed: a real sense of each other.
“On tour, you’re just in this survival mode. Even though we have a communication on stage, it’s more unspoken communication,” he said. “So it’s great to really get to know each other. Steve and I have grown as a really tight unit, friendship-wise.”
That closeness has had a direct effect on how Davison contributes to the music. On earlier records, he was primarily a vocalist, arranger by necessity. On Aurora, he is a genuine writing partner: playing keyboards and electric guitar on several tracks, co-writing with Howe and others, and receiving the kind of creative trust that takes years to build.
“Steve was really open more and more on the last album, but especially now on Aurora, where I could say, ‘I’ve got this electric guitar idea’ or organ, and I just had that support and confidence behind me,” Davison said. “It’s been a period of discovery, self-discovery through branching out and writing and exploring other instruments.”
On the title track, for instance, Davison plays a church organ section in 7/4 time during a stretch where Howe takes a jazz-inflected solo, while keyboardist Geoff Downes layers his own organ line across the choruses. It is, Davison noted with a laugh, very much a kitchen-sink approach. His overall keyboard contribution across the album runs to roughly 20 percent, with Downes handling the bulk.
Two of the album’s most thematically pointed tracks are “Emotional Intelligence” and “Turnaround Situation,” both of which Davison described as partly confessional. The first came from his research into psychology and his realization that emotion and intellect are not opposites but can be integrated: a concept he said genuinely changed how he sees his own behavior.
“I’ve been everything but emotionally intelligent. And I’ve suffered as a result and I’ve wanted to learn from those experiences,” he said. “I wanted to share that with other people. And I thought, well, this is Yes music — what a perfect platform for that type of subject matter.”
The broader backdrop to those songs is a creeping unease about the state of the world, and specifically, a concern that people have stopped listening to each other: “I’m sensing a rising tension in the world for myriad reasons. You have to start with yourself and realize that really giving in is also winning. If you can give close to equal importance to somebody else’s needs as your own, that brings balance. And if you’re willing to give, you’re going to create good karma where others will give to you.”
On the lighter end, the album’s bonus track “Jambustan” gives Davison a rare chance to stretch out into pure fun. The word is a Caribbean term he picked up while living in Barbados: slang for aggressive, rogue driving behavior. The song’s chorus is built on a string of “don’ts” that Davison described as tongue-in-cheek life advice, consciously modeled on John Lennon‘s habit of affirming something positive through a negative.
“I put my Lennon hat on. It’s such a diversion from more of the loftiness of most Yes lyrics, which I adore and I live by. But how fun to do something quirky like that.”
“Ariadne” pulls in the opposite direction: a storytelling piece rooted in Greek mythology that Davison said connects to childhood memories of listening to those stories in school. The rest of the album’s lyrical territory falls somewhere between the two: personal, occasionally cosmic, always searching.
As for the band’s future beyond Howe, Davison was measured but clear. “I sort of live by that proverb of Rick Wakeman‘s where there will always be a Yes. And Chris was adamant about that.” He pointed out that the current lineup is the longest-standing in the band’s history and said the goal is simply to keep it intact as long as everyone wants to.
He is under no illusions about where he stands in the minds of some fans. He knows the comparisons to Jon Anderson are constant, knows some people will never fully come around, and said Hawkins gave him the only advice he needed on that front early on.
“He said, ‘Never look at the comments.’ And you know, even he was going through that.”
Davison has made his peace with the position. “The stars have aligned to put me in a place where I represent the vocals in Yes. And so I’ve been called to duty, if you will. I go out there, and I celebrate Yes music and I do it for the people and to respect the legacy.”
Aurora is out June 12 via InsideOut Music.
The post JON DAVISON Talks “Aurora” Album’s Inception, And The Meaning Of Fronting YES: “I’ve Been Called To Duty — I Go Out There And Celebrate YES Music To Respect The Legacy” appeared first on Sonic Perspectives.
When Andy LaRocque says a new project came together naturally, he means it took 18 years. The seeds of Lex Legion — the debut album from the band of the same name — were planted back in 2008, when LaRocque and fellow King Diamond guitarist Pete Blakk started throwing riffs around in his studio outside Gothenburg. Nothing clicked into place right away. Life got in the way, as it tends to.
Then the pandemic hit, and suddenly there was time. Blakk played some of the material for Mikkey Dee, the longtime Scorpions drummer who spent two decades behind the kit for King Diamond. Mikkey‘s reaction was immediate. “Wow, this is really good,” LaRocque recalled Dee saying. “I want to be a part of this. Let’s call Andy to see if he’s interested, too.”
LaRocque said he barely needed to hear a note before signing on. “Pete and I work very well together, so I didn’t even really have to hear the songs. We’re going to do something good together — I was sure.”
From there, the band filled out into something that will look very familiar to fans of a certain classic King Diamond era: bassist Hal Patino and Pagan’s Mind vocalist Nils K. Rue rounded out the lineup, putting four-fifths of a classic King Diamond configuration back in the same room. Or at least in the same email chain. Given Dee‘s touring commitments with Scorpions, the album was recorded across multiple sessions, with Dee visiting the studio four or five separate times just to track drums.
The result is a debut that clocks in at under 40 minutes across nine songs, and LaRocque sees that brevity as a feature, not a flaw: “I think around 40 minutes is just perfect. It gets kind of intense. If you have good songs and good flow in the order of the songs, that’s a perfect length.”
He pointed to Van Halen II (32 minutes) and Rush‘s Hemispheres (36 minutes) as reference points, albums that made every second count. Lex Legion belongs in that same conversation.
The album opens with “Sleep Eternally,” which the label chose as the lead single. LaRocque said the band deferred to the label’s instincts on the single selections and had no regrets. “I think it was a great choice, actually.” The second single, “Gypsy Tears,” takes a different angle — something closer to a metal love story — and the video treatment matches the song’s vibe.
The sequencing holds up throughout. “Life Eternal” hits hard near the end of the record, a fast and aggressive cut that sets up the closing instrumental perfectly. That final piece brings the album home in a way LaRocque is clearly proud of: “There comes like an instrumental piece which just ends the album in a perfect way,” he said. “Hopefully, that’s what the listeners and the fans will appreciate. It’s just a great sequence the way it’s put together.”
One of the album’s subtler moments comes on “When the Stars Align,” where the keyboard work draws an unmistakable line back to the early King Diamond records, specifically the playing of Roberto Falcão, who appeared on Fatal Portrait and Abigail in the 1980s. LaRocque confirmed the connection was deliberate: he had reached out to Falcão in 2022 to contribute keyboards to some songs being written for the next King Diamond album, and that collaboration stuck with him.
“What you hear now is not by him, but it’s kind of inspired by Roberto, actually,” LaRocque said.
Those King Diamond recordings remain the benchmark in LaRocque‘s own mind. When asked about underrated work in his catalog, he acknowledged that listeners tend to fixate on the early records, and he gets it: “From Fatal Portrait up to maybe The Eye — of course we did a lot of really good things after that, too, but there is something special about those first four or five albums that you’ll remember forever. It was very unique, and it was a different time.”
On the topic of Patino, whose exit from King Diamond over a decade ago was reportedly not smooth, LaRocque was characteristically blunt: water under the bridge. “That was like 12, 13 years ago. We’re too old to hold grudges. We just want to have a good time and be friends.”
Rue was chosen partly for his vocal range, broad enough to handle whatever the material demands without defaulting to constant high-pitch histrionics, and partly because LaRocque already knew him from a project 15 years prior. Geography also factored in; Rue is based in Scandinavia and can make the trip to Gothenburg without anyone booking a transatlantic flight.
“His range is amazing, but we didn’t want him to sing high-pitched all the time — though he can do that if it’s necessary,” LaRocque said. “And he’s a good friend, which matters, too.”
The band is already developing material for a second album, described as being in roughly the same territory as the debut. LaRocque was careful to frame Lex Legion as its own thing rather than a continuation of any prior band.
“We don’t want it to be like a clone or copy or even a continuation of something we did before. This is something we try to make completely new. But again, you can’t really erase the way we play or the way we think when it comes to writing and playing music. You will hear some 80s influences in the music, of course.”
Live shows are being planned for 2027, with the caveat that the album’s current runtime is too short for a full headline set. The plan is to have new songs ready, possibly a second release as early as next spring or summer, before committing to a touring schedule. For now, LaRocque and the band are waiting to see how the debut lands. Given what’s on it, the wait should be short.
Lex Legion is out June 12 via MNRK Heavy. Order your copy here.
The post “You Can’t Really Erase The Way We Play Or The Way We Think,” Says ANDY LAROCQUE — And LEX LEGION’s Debut Proves It In Spades appeared first on Sonic Perspectives.
Voivod has never been a band that does things the conventional way, so it’s no surprise that their latest release, Symphonique, pairs four decades of dystopian prog-thrash with a full symphony orchestra. The live album captures the third of three orchestral shows the band performed, recorded last summer with the Quebec Symphony Orchestra in Quebec City. Drummer Michel “Away” Langevin spoke to Rodrigo Altaf about how the project came together, what’s next for the band, and why playing with an orchestra is beautiful, nerve-wracking, and everything in between.
The song selection for Symphonique was deliberate. Away says the band gravitated toward tracks with a more progressive rock approach, ones built around multiple movements rather than straightforward thrash. “We sort of stayed away from the really trashy stuff,” he said, “although we kept from the first album, ‘Nuclear War,’ because we thought it could sound like a very scary military march with an orchestra.” They also chose to include Syd Barrett‘s “Astronomy Domine,” which Away says “turned out very good.” The overarching framework was cinematic. “We figured the order of the songs to make it sound like a soundtrack for a movie or something like that.”
Photo by Stéphane BourgeoisArranging those songs for orchestra fell largely to Hugo Bégin, working in close collaboration with guitarist Daniel “Chewy” Mongrain, who teaches jazz at the college level and brought substantial chart knowledge to the sessions.
“He was the one giving cues to the arranger,” Away explained. “Ideas like, let’s say, the band could stop there, the orchestra could keep going, and then Snake could sing alone with the orchestra.” For his own part, Away fed the arranger a very specific sonic vision: “I really wanted it to sound like a dystopian movie, mainly influenced by the early cyberpunk movies like Mad Max, Blade Runner, Terminator. And I also mentioned Planet of the Apes, because they had some avant-garde music mixed with the soundtrack. As soon as I heard the orchestrator’s first demos, I immediately felt like I was in a sci-fi movie.”
Many of Voivod‘s songs were already drawing from modern composers like Shostakovich, Bartók, and Penderecki long before the orchestra showed up, which helped make the pairing feel earned rather than grafted on. “It might seem like a strange match for many people,” Away acknowledged, “but it was more organic and natural than people would think.”
Photo by Stéphane BourgeoisThe process took about two years from song selection to stage, and playing the material live with a full orchestra brought its own unique pressure. “As a drummer, it was especially stressful,” Away said, “because if I miss one beat or one bar, the whole orchestra gets lost.” He also had to stay locked in visually with conductor Dina Gilbert, who developed cues with the band throughout the process. “There are many breaks where we have to look at each other, and then we start again.” By the third concert, the Quebec City show that ended up being recorded, the nerves had settled enough for Away to actually enjoy it.
The orchestral setup also meant Voivod had to think differently about who was holding the reins at any given moment. Songs like “Forgotten in Space” and “Cosmic Drama” open with the orchestra alone before the band enters, and the arrangements throughout are built to give both sides real sonic space. “We couldn’t go crazy with rearranging every single part,” Away said, “but we really wanted the songs to be different than the originals, while keeping the strange vibe of Voivod‘s music.”
One dimension of the show that remains locked in the vault for now is the visual component. Away put significant work into the stage visuals, supplying original artwork that was animated by multiple artists in a range of styles, from traditional 2D to 3D CGI, with some AI animation in the mix. “The only problem is it made for a very fantastic experience for the public, but to film it and release it on Blu-ray or DVD was really out of our range financially.” A video release could still happen: Voivod has a symphonic show planned for January in Saguenay, the northern Quebec city where the band formed in 1983, this time with the local orchestra. “Maybe we can film this one,” Away said, hopefully.
The artwork for Symphonique is Away‘s own, depicting Voivod‘s recurring alien protagonist, the Kögel, recast in the image of the Phantom of the Opera. “It’s like a Kögel turning into the Kögel of the opera,” he said. Chewy pushed for warm, luminous colors over the cold palette Away had initially explored, a choice that reflects the visual spectacle of the shows themselves. “I got the vinyl copies a couple of weeks ago, and it looks really amazing.”
Beyond Symphonique, Away laid out a formidable list of active projects. A new studio album is in progress, recorded in stretches of three songs at a time around the band’s touring schedule at Radical Studio, where they’ve been working for over a decade. Three songs are already tracked, with more planned for the fall. The album is a concept record with the Kögel returning as a central figure, and Away says the symphonic experience has bled directly into the writing. “It might sound a bit like a dystopian movie soundtrack, hopefully.” He put the release window for late next year.
Also in the pipeline: a video game called Nuclear Warrior, built around late-1980s and early-1990s arcade aesthetics with Chewy adapting Voivod music into 8-bit format; a long-awaited documentary called We Are Connected, which has finally cleared its music rights; and a reissue campaign covering the band’s self-titled album and both Catharsis and Infini from the Jason Newsted years. Further down the road, Away is still hoping to release material from the Eric Forrest era, including a concept album that was demoed in the late 1990s and professional multi-camera footage from the Dynamo festival circa 1995-1996. “That’s a dream of mine,” he said.
On the lyrical side, Away noted that Snake‘s writing has shifted away from distant science fiction scenarios toward present-day subject matter, though the line between the two keeps blurring. “The science fiction is here, and it has caught up with the Voivod concept for sure.”
Voivod heads to Europe for a run of shows in June, July, and August, with a return to the United States in October and a potential Canadian run in September under consideration. The set list for the touring cycle has been significantly refreshed, Away said, with songs the band hasn’t played live in decades making the cut. For a band with a back catalogue too large to pull even one song from every album, that counts as a serious event.
Symphonique is out now. Grab your copy here.
The post MICHEL “AWAY” LANGEVIN Talks Inception Of VOIVOD’s Live Album “Symphonique”, Reveals Their Upcoming Record Is Well Underway: “It Might Sound A Bit Like A Dystopian Movie” appeared first on Sonic Perspectives.
Armored Saint has never been a band to stand still, and Emotion Factory Reset, their new album, is no exception. The title alone does a lot of work. Vocalist John Bush broke it down in a recent conversation with Rodrigo Altaf, and it turns out there are layers to it; some conceptual, some deeply personal.
“I always think of Armored Saint as a band that kind of touches into various emotions for people when they’re listening to our music,” Bush said. “And then a reset is kind of like when you make a record, you’re regrouping, resetting in a sense to come up with different ideas for some new product that you’re wanting to put out for the public.”
The factory part of the title comes from how Bush sees the modern recording process: each member handles their piece of the puzzle in sequence, building something together from separate contributions. “Sometimes factories can be a little cold,” he acknowledged, “but I think of this as a warm factory.”
Bassist Joey Vera had described every Armored Saint album as a new skin. Bush appreciated the analogy but pushed back slightly on the implication that the band is shedding or dismissing what came before: “Every record should be different. Every record should feel different. It’s a different time in life,” he said. “I mean, I know people love March of the Saint, 1984, Symbol of Salvation, 1991, Revelation, 2000. But the reality is this is 2026. So it’s just a different time, a different time in your life, all these different feelings and things that you’re going through personally. You kind of put that into making a record at that time.”
With no label constraints and no commercial pressure dictating the direction, Bush said the band approaches the writing with full creative latitude, within reason: “I always joke, today we’ll be in hip hop, death metal, reggae. We’re not going to put a record comprised of those three styles of music and go, ‘here’s the new Saint, man.’ We know what we kind of are — heavy metal, hard rock — and that’s the roots of it. But that being said, I think we feel like we can do whatever we want for the most part, and that helps us keep broadening our sound.”
One noticeable shift on Emotion Factory Reset is how much more Vera is singing. Bush noted it with a raised eyebrow and a grin: “Joey‘s singing his butt off. I don’t know if he’s vying for the lead vocal position in the band now or what, but he’s singing great.”
Guitarist Jeff Duncan also contributes background vocals, and bassist Phil Sandoval has been flexing his voice in a blues side project. “I don’t know if these guys are all trying to get in on my job here,” Bush deadpanned. “But it just broadens the Armored Saint sound, which is cool.”
The lead single, “Close to the Bone,” dealt with the tension of swallowing disagreement rather than confronting it, and Bush sees it as something bigger than a personal grievance: “It’s that fine line of how much do you get into battles and you pick your battles,” he said. “The Internet and the digital world we live in — you can go into comment sections and write whatever you want. Nobody really knows you. You’re kind of hidden behind this veil, which to me is almost cowardly.” He paused, then widened the lens. “What I’ve been telling people lately is we’re struggling as a society where people just don’t want to listen that much. Everybody wants to throw out their thoughts, but how many people are stopping and saying, let me hear what you’re saying?”
The follow-up single, “Hit a Moonshot,” came with a video that Bush described as funny, stunt-filled, and cool in equal measure. True to form, the song borrows a sports metaphor: a Bush trademark stretching back to titles like “Left Hook from Right Field” and “Punching the Sky.” Here, the baseball term gets repurposed to describe someone who always manages to land on their feet regardless of how badly things go sideways.
“It kind of has a little sarcastic drive to it,” he said.
“Every Man-Any Man” operated in similar territory, examining the idea that everything has a price and someone is willing to pay it. Bush was careful to frame it as an observation rather than a lecture: “My objective is not to tell people what to think. Too many people are trying to do that. My idea is just to raise thoughts and go, ‘take a look at this perspective — what are your feelings on it?'” He added that the ambiguity is intentional. “Sometimes I write a song, and then 10 years later it means something completely different. It makes it timeless.”
The album’s most personal moment is “Buckeye,” written about his daughter leaving for college in Ohio. Bush was visibly proud of it: “I love the intro and the intro is the outro — it’s full circle. It kind of has a Zeppelin-y style to the beat and the groove. Big vocals, big chorus.” Despite the specific trigger, he sees the song as open-ended enough to resonate beyond its origins. “It could be about the void of people leaving, separation, or somebody dying. That void of separation — it could be various emotions. Because that’s how I felt with her leaving: I was very sad, but at the same time very proud. I had some anxiety. All those things.”
His daughter has since gone on a semester abroad in Rome, which the family visited a few weeks before the interview. “To see her growth,” Bush said. “It was awesome.”
On the album’s artwork — the Armored Saint mascot rendered against an industrial backdrop — Bush explained that the band deliberately wanted to avoid repeating the purely medieval aesthetic of earlier covers. “It’s hard to beat March of the Saint — that cover is spectacular,” he said. The solution was to combine eras: the armored knight set against a factory landscape, collapsing centuries into one image. Vera oversaw the art direction, working with an artist in Europe. “The knight came out great,” Bush said. “The guy did a spectacular job.”
Beyond the new album, Bush has been gradually activating his catalog from his Anthrax years. Three shows in December went over well enough to confirm that he wants to do more, though the timing has to work around Armored Saint commitments: “It was a lot of me talking about it for years,” he said. “So yeah, it was good to say, okay, I’m not talking anymore about it, I’m doing it. And it was so fun. The fans were just very, very excited and emotional about hearing those tunes.”
He’s equally sanguine about the online debates that inevitably pit different Anthrax eras against each other: “If you’re negative towards me, you’ve got to be funny. If you’re funny and disparaging, I’ll think it’s amusing. ‘That guy sucks’ — come on, you can’t come up with anything better than that?” He shrugged off the tribalism altogether. “You can like both. You don’t have to pick a side. Heaven and Hell is pretty much a flawless record, but so is Paranoid. So what are you gonna do?”
Category Seven, his heavier side project, is also stirring. Bush said he’s been working on new material, though he’s making a point of clearing his head of the Armored Saint sessions first: “I have to exercise all the work I did with Armored Saint to kind of get it out of my system, see something new from a fresh perspective. Otherwise, I’m going to phone it in, and that’s the last thing I want to do with anything.”
As for live plans, Armored Saint has a packed stretch ahead: a show at the Rainbow Bar & Grill parking lot party in Los Angeles, the Milwaukee Metal Fest, a date outside Mexico City, and a run of European dates that includes Sweden and Poland; the latter alongside Sabaton and Testament. Some dates with Metal Church are also on the schedule, a prospect Bush welcomed, given his friendship with vocalist Dave Ellefson. North American touring is still being worked out, but Bush was clear that Canada is on the list: “Montreal and Toronto — some of the best cities in the world for metal, for sure.”
Emotion Factory Reset is out now. Grab your copy here.
The post JOHN BUSH: ARMORED SAINT’s “Emotion Factory Reset” Proves “We Can Do Whatever We Want — And That Keeps Broadening Our Sound” appeared first on Sonic Perspectives.
Hard-rocking guitarist and vocalist Jared James Nichols is back with Louder Than Fate, out June 5 via Frontiers Music Srl. The 10-track collection is his most fully realized statement yet, balancing his signature crunchy guitar tones with a stronger focus on vocal melody and songcraft. Whether he’s delivering a fluid solo on “Running Hot,” burning through the lead track “Let’s Go,” or laying bare something more vulnerable on “Killing Time,” Louder Than Fate is a record that earns the weight it carries.
Two years is a long time to carry songs in your head, and Nichols sounds like a man who can finally breathe. “These songs have been floating around in my head in rehearsal spaces and sound checks for the last almost like two years,” he told Robert Cavuoto of Sonic Perspectives. “Finally, to put this together and not only compile these songs but also to get this record out, it feels like I’m finally just like getting a weight off my shoulders.”
That relief is audible in the record itself. Louder Than Fate moves between hard rock muscle and something more emotionally exposed, a range Nichols says came from a deliberate effort to let the songs go where they wanted rather than forcing them into a predetermined mold. Tracks like “Dustin Bones” and “Let’s Go” operate in full-throttle mode, while “Killing Time” and “Show Me” pull back into something closer to ache.
“One of the big things I’ve always had just because of the way I play guitar is it’s always been really, really guitar focused,” he said. “With this record, I feel like I was able to bridge that gap where there is that natural kind of rawness when you hear songs like ‘Dustin Bones’ and ‘Let’s Go.’ As a vocalist, I get my best vocal takes when I’m holding or playing my guitar. It’s like my blanket. But with songs like ‘Killing Time’ and ‘Show Me,’ it’s almost as if I was able to have the guitar play rhythm to a vocal and to a melody, which is something that I’ve been really, really focused on. This record, we finally captured that.”
The writing process was looser than anything Nichols had attempted before, leaning on co-writers based in Nashville and letting the material find its own footing. “Way Back” is a prime example, built around a chorus riff that simply fell into place once the right people were in the room. “The more it feels natural and the more it feels easy, the more it comes across as honest in me,” he said. “That thing basically wrote itself.”
That track also reflects the eclectic musical diet Nichols grew up on. Raised on a rotation of Steppenwolf, Mountain, Cream, and Led Zeppelin courtesy of his Vietnam vet father, AM radio softness from his mother, and Alice in Chains and Stone Temple Pilots from his brother, he never really belonged to a single genre and stopped pretending otherwise around two years ago. “I said, let’s just write songs. Let’s just let it go where it’s going to go,” he said. “I have this weird kind of misfit of all this blues, rock, country, heavy stuff, and I just try and cram it all in there to try and sound like me.”
Lyrically, Nichols admits that while not every song is strictly autobiographical, each one carries personal elements that reflect his own experiences. “Killing Time” is where the personal and the universal collide most directly. The song started from a fractured family relationship rather than a romantic split, but the two threads ended up pointing in the same emotional direction. “Sometimes you have to let songs go where they want to go,” he said. He played it for Lzzy Hale of Halestorm while it was still taking shape. “By the time we got through the chorus, she goes, ‘Oh, this is a good song.’ And I was like, got it. We’re doing that.”
The guitar work on that track also marks a personal milestone. Inspired by David Gilmour‘s melodic approach, Nichols went home the night before recording the solo, didn’t touch his guitar, and just listened back to the rough track on his phone, humming melodies rather than rehearsing licks. “I walked into the studio the next morning, fired up my amps, went through like three passes, kind of figured out where I wanted to go, and then we did it,” he said. “After we were done, the engineer looked back at me and went, ‘What do you think?’ And I said, ‘I think we got it.’ That one was really special because I felt like I was really saying something with my guitar.”
That commitment to feeling over perfection runs through the whole record. Nichols and his team made a deliberate call to leave the imperfections in, no auto-tune, no going back to fix the rough edges. “If you hear the guitar and it goes or it scratches up, that’s me. That’s my mistake. And we left it because there’s an honesty there,” he said. “With ‘Killing Time,’ there are parts where I can hear a string kind of buzzing underneath it. But it was like it’s part of the energy. It’s the way it was captured.”
Louder Than Fate also carries a bonus track that most Western listeners won’t find on the standard release: an acoustic version of “Killing Time” recorded on guitars dating back to the late 1800s. “When you hear it, right when it kicks off, you go, ‘That sounds different. That sounds old,'” Nichols said. “It’s not like it was made to sound old. It’s a microphone on a real old guitar.” It also marks the first time he’s attempted true acoustic soloing on record.
Nichols is taking the album on the road immediately after release, with shows lined up in New Jersey, Los Angeles, Nashville, London, and Berlin, playing the record front to back, in sequence, with the same band that recorded it. “When you listen to the record, and then you come to the record release show, it’s the same guys playing the songs,” he said. “To me, that means something.”
The post JARED JAMES NICHOLS Talks His New Album “Louder Than Fate”: “I Feel Like I’m Really Saying Something Here With My Guitar” appeared first on Sonic Perspectives.
Canadian progressive rock duo Crown Lands have never done things the easy way, and their new album, Apocalypse, out May 15 via Inside Out Music, makes that abundantly clear. Built by two people, Kevin Comeau on guitar, bass, and bass pedals, and Cody Bowles on drums and vocals, it’s a boldly cohesive concept record that pushes their sound into more expansive territory than anything they’ve attempted before.
The album moves through diverse sonic landscapes, from the cinematic instrumental opener “Proclamation” to the driving urgency of “Foot Soldiers of the Syndicate,” through the melodic weight of “Through the Looking Glass” and “Blackstar,” and out the other side into the sprawling 19-minute closer “Apocalypse” itself, a multi-part epic that gives the duo room to fully stretch out.
Robert Cavuoto spoke with Bowles about how it all came together, and the drummer and vocalist didn’t take long to get to the heart of what makes writing as a two-piece both liberating and genuinely difficult.
“The power of two is a beautiful boon because we can riff off each other and there’s no one else to tell us no or give us any other input,” Bowles said. “When we write together, everything we make is made live in the room. It’s just our pure chemistry together where we piece things together, we figure out what works, what doesn’t work, and there’s this really beautiful alchemy that happens. We find a 15-second passage with an amazing riff that becomes one of the parts in ‘Apocalypse,’ and then we stack that against something else, and we have a working open demo session where we’re live recording everything, testing everything, ABC-ing everything, and deciding what part goes next until we get to the end of the song.
“There is a downside to a lack of true democracy. If one of us doesn’t want to do something and no one concedes, nothing happens. But that limitation actually becomes a strength if you can surmount it and create around it. If I hear something Kevin does and I say we really need a chorus, and he says no, I don’t think we do, I say, fine, I challenge you to make a chorus. And then he makes one. It becomes ‘Blackstar.'”
That particular track had been sitting in their ecosystem for years before Bowles finally pushed Comeau to finish it, and the same dynamic shaped “Beardless Part One,” where another challenge to write a bigger chorus produced one of the record’s most striking moments. It’s a creative friction that, rather than stalling the band, keeps pushing them further than either would go alone.
The two-piece setup itself was never a deliberate choice so much as an organic one. Bowles originally planned to just sing, having never done so before he walked into a jam session with Comeau at around age 19. “A voice came out, and I was like, oh shoot, this is amazing,” he said. “I got to keep doing this.” He had been a drummer his entire life, his father’s favorite band was Rush, and he’d been listening to them almost exclusively until grade eight. When Comeau started playing kick drum with his foot to keep the beat during their early blues rock jams, Bowles took over the kit almost by accident. “Kevin said, ” What am I going to do with my foot? And he started playing bass pedals. And I was like, you know what, I’m going to sing and play drums. Screw it. I learned how to sing while playing drums. It’s kind of just like a product of the environment.”
The vocal comparisons that tend to follow Bowles around, particularly to Geddy Lee and Robert Plant, are ones he accepts with some humility but also genuine context. His blues rock influences pulled him toward Steve Marriott, John Fogerty, and Plant early on, while the band’s progressive pivot brought Lee‘s angular melodic sensibility into sharper focus. “I lean toward it almost instinctively,” he said. “But it’s all just me.”
For Apocalypse, the band made a conscious decision to abandon one of their longest-held rules: if you can’t do it live, don’t record it. The shift began with their Fearless record, when Comeau insisted on adding bass guitar alongside everything else and then promptly had a custom double-neck built to perform it. By the time Apocalypse came around, they had fully committed to putting the art first and figuring out the live arrangements afterward. That meant complex harmonies Comeau can’t easily replicate on stage, layered instrumentation requiring creative workarounds, and ultimately the decision to bring in two additional touring musicians to help bring the material to life in a live setting. “We decided, you know what, this music is going to outlive us,” Bowles said. “We’re going to make music for the sake of the art, and how we figure it out live, we’ll get there.”
That artistic freedom is all over the record’s individual tracks. “The Fall” grew out of a riff Comeau was playing that initially felt a little too close to Pink Floyd‘s “Run Like Hell,” and the course correction produced something that married Floyd‘s atmospheric quality with a more Kiss-influenced drum approach from Bowles, who credits Peter Criss as a direct inspiration on the track. “Through the Looking Glass” took shape around a massive chorus melody that Bowles had been reluctant to pin any specific lyric to, until a conversation in the studio with producer Nick landed on a dragon imagery concept Bowles had initially dismissed entirely. “I was saying no the whole time,” he admitted. “And then I was like, okay, I lost the bet. Upon the dragon’s wings, we fly. Whatever.” The song became one of his favorites on the album.
The vintage gear the duo leaned on throughout recording also played a significant role in shaping the record’s character. Comeau brought in original Moog synthesizers, old Taurus pedals, and vintage Leslie cabinets, while Bowles tracked portions of the album on a 1970s Slingerland black gold kit alongside a more modern-sounding setup used for the title track and other material. “We definitely lean toward the classic-sounding gear,” Bowles said.
The concept threading through Apocalypse acts as a prequel to the band’s earlier material, telling the origin story of their overarching villain, the Syndicate, and its figurehead, Blackstar. “That angular riff became ‘Blackstar’ because it sounded angry and mean, almost like a montage of him conquering other worlds,” Bowles said. “And ‘Through the Looking Glass’ sounded like the good guys, the ebb and flow before the Syndicate arrived on their home planet.”
Releasing the 19-minute title track as the lead single was as deliberate as everything else on the record. “People statistically wouldn’t get to it if we just threw out the whole record without having a spotlight shone on it,” Bowles said. “So we shone a spotlight on it. We put it out first as a statement: we just did two instrumental records, but we haven’t lost the plot. We’re a prog band. Here we are with our new prog label, Inside Out. Here’s this amazing story that we came up with. Live with it, digest it, read it, and get it.”
Apocalypse is available for pre-order now at this location.
The post CODY BOWLES Explains How CROWN LANDS Threw Out The Rulebook To Make “Apocalypse” – One Of The Most Ambitious Prog-Rock Records You’ll Hear This Year: “We’re Going to Make Music For The Sake Of The Art” appeared first on Sonic Perspectives.
Richie Faulkner has never been short of things to do. Fifteen years into his tenure with Judas Priest, fresh off a studio stretch laying foundations for the band’s next record, and fresh off releasing Evolution, the second album from his hard rock outfit Elegant Weapons, the guitarist spoke with correspondent Rodrigo Altaf about how the project has grown from a pandemic-era creative outlet into something with a life of its own.
The title says it plainly enough. “The songs have evolved, there’s a side of the band which we’re kind of growing on this record that wasn’t on the first one,” Faulkner said. “Since 2023, we have been on the road, and we have gotten some new guys in the band. The band has evolved, the songs have evolved. We figured it was appropriate to call the album that as well.”
Those new members, bassist Davey Rimmer of Uriah Heep and drummer Christopher Williams, were already in Nashville shooting videos for the debut when Faulkner pulled them into the studio to start tracking what would become Evolution. The recording process itself shifted, too. Where the first album was pieced together more remotely, this one was built from a live drum session with all three players in the room together. “We captured the drum tracks and built that core. We put the guitars and bass on later, but we recorded the drum tracks together, which I think creates a spontaneous vibe,” Faulkner said. “If I do something on the guitar or Davey does something or Christopher does something, we all interact and capture that spontaneity.”
Vocalist Ronnie Romero was handled differently, too. Faulkner and producer Andy worked with him remotely via Zoom, building the vocal performances from scratch rather than handing him a template to replicate. “On the first record, the vocals were originally sung by another singer, so we gave them to Ronnie and said, ‘ Sing them like this. He did that, and they were phenomenal,” Faulkner said. “But on this one, we wanted more Ronnie. We wanted Andy especially to produce Ronnie more, to really get some more Ronnie Romero out of him. And I think it turned out better for doing that.”
The album covers considerable ground. “Shooting Shadows” rides a riff Faulkner compares to a Pantera verse before opening up into a melodic chorus, a contrast he was deliberate about. “I love melody. For me, it’s the song first and the melody,” he said. “I like the way it goes from really heavy in the verses to that melodic chorus. It was a good contrast.” “Generation Me” aims at social media’s echo chamber effect, something that landed close to home for Faulkner as the father of a six-year-old. “It seems like a lot of people these days think that the world revolves around them. They can build their own echo chamber in their own little sphere online,” he said. “Every generation has its thing. But it’s just the echo chamber that people can build that focuses on them and doesn’t let them think about anything else.”
“Keeper of the Keys,” featuring Adam Wakeman on keyboards, is one of Faulkner‘s personal highlights on the record. Built around a Rainbow and Deep Purple-influenced foundation, it grows from a sparse Hammond organ and vocal opening into a full jam that closes the album. “I wanted to put it earlier on in the record because I think it shows another side to the band, but I couldn’t put anything after it,” he said. “The way it ends and the way it builds up, it had to go at the end of the record.”
The most personal moment on Evolution is the instrumental “Rupture,” a track that draws directly from Faulkner‘s 2022 onstage aortic aneurysm. He was careful not to make it too literal or too personal, but the imagery that shaped it was vivid. “I could see someone in a hospital bed with machines around them, wires and tubes keeping them alive,” he said. “I could feel like turmoil in the music, but I could also hear strength and hope. And at the end, obviously, it flatlines. The heartbeat stops, and the person in the song flatlines, which obviously I didn’t do, fortunately.” The track flows directly into “Mercy of the Fallen,” which revisits the same emotional territory, the two songs working together as a pair. “For dramatic effect, it flatlines and then crashes in with ‘Mercy of the Fallen,'” he said. “I thought it was quite a cool dynamic to try out on a record.”
Two years and a steady run of live shows have done something for Elegant Weapons that no studio session could fully replicate. “It’s more than a COVID record, which I didn’t want it to be anyway,” Faulkner said. “Now it’s become more solidified. When you play live, you become closer as a band, and the songs take on a different form.” He’s been open about the longer-term thinking behind the project, too. With Judas Priest showing no signs of slowing down, having spent February in the studio working on new material and with summer European dates on the horizon, the immediate future is clear. But Faulkner has thought past that. “If one day Judas Priest decides to call it a day, maybe this band has built up enough of a foundation. We can take that DNA and carry that on,” he said. “We’re fortunate that we’re able to do this band as well as our other bands. We all feel very fortunate.”
Evolution was released on April 24.
The post RICHIE FAULKNER Talks ELEGANT WEAPONS New Album And The Band’s Future: “If One Day JUDAS PRIEST Decide To Call It A Day, Maybe This Band Has Built Up Enough Of A Foundation” appeared first on Sonic Perspectives.
Some bands carry their debut like a millstone, and some bands carry it like a torch. Hardline has spent the better part of three decades in the second camp — and with Shout, their latest album via Steamhammer/SPV, they’ve made the strongest case yet that the flame Johnny Gioeli and company lit with 1992’s Double Eclipse still has serious heat left in it.
At the center of that effort, as he has been for much of the band’s recent run, is Alessandro Del Vecchio — keyboardist, co-writer, and the kind of sonic architect who tends to shape records from the inside out rather than the top down. In a new interview, Del Vecchio laid out exactly how Shout was built, what it means for Hardline‘s legacy, and why recreating the past was never really the point.
“The key is intention and honesty,” he said. “We didn’t sit down saying, ‘Let’s recreate Double Eclipse.’ That would immediately turn into nostalgia. What we did instead was reconnect with what made that album special in the first place, which is strong songwriting, emotional delivery, and that balance between power and melody.”
That balance — the thing that made Double Eclipse such a benchmark for melodic hard rock — is precisely what Shout chases on its own terms. Del Vecchio, Gioeli, and guitarist Luca Princiotta split the songwriting between them, though “split” may be too clean a word for what sounds like a genuinely fluid process. “There’s no rigid division like ‘you do this, I do that,'” Del Vecchio explained. “Usually one of us brings an idea, a riff, a chorus, sometimes even just a title, and then we build it together.”
Each brings something distinct. Gioeli sets the emotional compass — his voice is so recognizable that it functions almost as a filter, determining what fits and what doesn’t before a note is fully arranged. Princiotta supplies the modern muscle, the riffs and arrangements that keep the record from feeling like a period piece. Del Vecchio handles structure, melody, production direction, and the keyboard work that, on a record like this, can mean the difference between a great song and an anthem. “Songs like ‘Shout’ or ‘Welcome to the Thunder’ are really the result of that combination,” he said. “It’s three different perspectives working toward one goal, and that’s what gives the record its cohesion.”
The production philosophy on Shout followed a similar logic — resist the temptation to chase trends, and focus instead on impact. “Modern doesn’t mean following trends,” Del Vecchio said. “It means sounding relevant and impactful today.” Big guitars, powerful drums, and room left for the vocals and melodies to do their work. The keyboard layers and harmonies that give Hardline its signature anthemic sweep stayed intact — not as nostalgia but as architecture. “You want it to hit hard, but you also want it to lift people,” he said. “That’s always been Hardline.”
Shout also makes room for range. “Candy Love” leans into the band’s lighter, more celebratory instincts — pure 1980s melodic rock without apology — while “Glow,” a track Gioeli has described as rooted in a love of dogs and the weight of loss, operates in a completely different emotional register. Del Vecchio approached the latter less as a ballad and more as a study in restraint. “When you work on a song like that, you don’t think in terms of ‘ballad,'” he said. “You think in terms of emotion. The goal was to create space. Space for the vocals, for the words, for the listener to connect. That means not overplaying, not overproducing, and letting the dynamics breathe.”
Then there’s the album’s cover of the Scorpions‘ “When You Came Into My Life” — a deliberate left-field pick that prioritized emotional depth over the obvious classic-hit grab. “We wanted to pick something that had emotional depth, not just a classic hit,” Del Vecchio said. “That song has a very strong emotional core, and it fits Johnny‘s voice perfectly.” The arrangement was reworked to feel like a Hardline track rather than a tribute act exercise, preserving the melody while reshaping everything around it.
Keyboard-wise, Del Vecchio is characteristically measured about his own role on the record — always conscious of not crowding the guitars and vocals that form the band’s spine. But there are moments where the keys do more than decorate. “Songs like ‘Shout’ itself or ‘Rise Up’ have elements where the keyboards help define the atmosphere and support the identity of the track, not just fill the background,” he said. He also points to “Mother Love” as a track where the keyboard sits closer to the foundation — a song he said grew directly out of a keyboard riff rather than a guitar idea.
Shout arrived April 17, with a European tour following just a week later — and Del Vecchio admits the live context was never far from his mind during the writing process. “When you write songs like ‘Shout’ or ‘Welcome to the Thunder,’ you can already picture the audience reacting, singing along, feeling that energy,” he said. “That definitely influences the way you build the choruses and the arrangements.” But the live test was always secondary to the more fundamental one: does the song work on its own? If it does, the rest follows.
More than 30 years on from Double Eclipse, Del Vecchio sounds less like a man trying to honor a legacy and more like one who’s simply stopped worrying about it. “I’ve been doing this for many years, and I’m at a point where I don’t feel the need to chase anything,” he said. “I just want to make the best music I can, honestly.”
For a genre that gets written off on a near-annual basis, that kind of conviction has a way of cutting through. “If you approach it with passion, attention to detail, and respect for the songwriting,” Del Vecchio said, “it still has a lot to say.”
Shout makes that argument without breaking a sweat.
The post HARDLINE Keyboardist ALESSANDRO DEL VECCHIO on Recapturing The ‘Double Eclipse’ Spirit on ‘Shout’: “The Connection With The Past Happened Naturally, But The Music Still Breathes In The Present” appeared first on Sonic Perspectives.
Black Veil Brides have never been a band that softens the edges, and Vindicate, out today (May 8) via Spinefarm, is their most unguarded record yet. Driven by heavy-hitting anthems like “Bleeders,” “Revenger,” and the title track, it channels the accumulated weight of years of grievances into something that hits with real force. But it also makes room for something more unexpected: a pop crossover duet called “Cut” featuring frontman Andy Biersack‘s wife, Lilith Czar, that stands as one of the album’s most memorable moments. Throughout, the band draws on their legacy while pushing their sound into more aggressive, more fully realized territory than they’ve occupied before.
Robert Cavuoto spoke with Biersack, who was candid about where the record’s energy actually comes from. “This is the most honest record that we’ve made,” Biersack said. “I am someone who is incredibly. I always joke with Kevin. I have a list of everything that I’ve ever seen someone do wrong to me, and I sort of keep it in my mind. It has motivated me from the time I was six years old and starting to play hockey as a kid, to being 35 years old, and it’s still a deeply motivating thing.
“As I’ve gotten older, I have found that there is a real hollowness to the sort of revenge-oriented lifestyle, and yet I still find myself compelled to go, oh, fuck that person, I’m going to show them they’re wrong. I wanted to show the real truth of how I operate in my mind and the things I think about. I think a lot of people feel that way. It could be something as small as your boss at work being a piece of shit and not respecting you, or it could be some sort of family issue. I just wanted to make a record that was very brutally honest in that way,” he added.
Photo by Jonathan WeinerThe music followed the lyrics rather than the other way around. Biersack and guitarist Jake Pitts co-produced the album together, and the heavier direction emerged organically from the writing rather than from any upfront decision to go in a specific direction. “We didn’t set out to go, hey, let’s make a heavy record, it was not a committee decision,” Biersack said. “The moments on the record that are not heavy shine that much more, because they’re within the context of these very heavy songs. A song like ‘Cut,’ or the outro song ‘Eschaton,’ they feel more grand in scale because they’re surrounded by these very aggressive, vitriolic moments.”
The album’s two orchestral interludes, “Purgatory” and “Grace,” were handled by multi-instrumentalist Jinxx, who wrote the charts, conducted, and brought in a full live orchestra for the sessions. “When you have somebody like Jinxx in a band, you would be a fool not to include all of his skill sets,” Biersack said. “There’s not really anybody in our scene or era that has that breadth of musical knowledge as he does.”
Part of what makes Vindicate feel like a return to form is the way it was built. Biersack traced the band’s recording history to explain why this one lands differently, noting that their early records were assembled from pre-written Jake and Jinxx compositions that he then layered melody and lyrics on top of. That process gave way over the years to writing in the studio with outside producers. On Vindicate, the band went back to the original approach, with Jake developing demos for every track before they entered the studio in Florida. “That’s where you start to get the ways that the ‘Set the World on Fire’ guitar elements were produced out of us over the years without someone else kind of poo-pooing that sound,” Biersack said. “You get that very technical, very grandiose, very fast-paced kind of stuff that you had on ‘Set the World on Fire’ that you now get again with this record.”
“Bleeders,” the lone track not self-produced by the band, was originally released as a standalone single in 2024 and went on to perform well at radio before becoming the anchor point for the album that eventually grew around it. “We worked the fuck out of that song and really, really wanted it to be something special,” Biersack said. “When it succeeded, it was more of a, oh, good. We put it all out there. Thank God, you know.”
The most unexpected song on the record is “Cut,” which came together through a combination of sources. An early demo seed arrived from Ben Bruce, formerly of Asking Alexandria, who heard something in the idea that felt like Black Veil Brides. Jake and Jinxx refined the musical foundation, Biersack wrote the lyrics and adjusted the melodies for his voice, and the whole thing started coming together unusually fast. “Immediately, I was listening to it in the car, and I thought, Lilith‘s voice on this would be perfect,” Biersack said. “She immediately made it her own. Even the little changes that are in the second verse, they give it a little bit more flair. I would put it in the canon of one of my favorite songs we’ve ever done.”
The conversation also touched on the loss of Ace Frehley, whose death hit Biersack harder than he expected for someone he’d met but never truly known. “I told my wife, it just felt very strange because it did feel like losing someone that you knew,” he said. “I have no shared memories with Ace. The shared memories I have are with me. All of the photos on the walls, the makeup, the toys, everything. That’s a shared memory that he doesn’t know about. But it is meaningful to me.”
Black Veil Brides kicked off a 24-city North American headline tour on April 25, and information for VIP and tickets can be found here. You can also order your copy of Vindicate here
The post BLACK VEIL BRIDES Are Back With A Vengeance With Their New Album — “This Is the Most Honest Record That We’ve Made,” Says ANDY BIERSACK appeared first on Sonic Perspectives.
Crobot vocalist Brandon Yeagley has never been the type to overthink things, and that, perhaps more than anything else, is what has kept the band vital through nearly a decade of lineup changes, label turbulence, and the kind of life experiences that tend to derail lesser outfits. With their new album Supermoon dropping May 1st, Yeagley sat down with Robert Cavuoto to talk about what makes this record different from everything that came before it. The short answer: intention.
“I really wanted to put that microscope on everything,” Yeagley explained. “I wanted to approach a record for the first time and make sure that every single word was where I wanted it to be. Every single theme, everything that every song was about was extremely intentional.”
That’s a shift from how Crobot has historically operated. Their previous record, Obsidian, came together under less-than-ideal circumstances. “We didn’t have a label, and we didn’t expect that,” Yeagley said. “So we had a bunch of stuff lying around, and we put something together.” Supermoon, by contrast, was built from the ground up — and a major reason for that was the arrival of a new rhythm section.
Drummer Nico and bassist Willie are new to the Crobot lineup, but they’re anything but strangers to the band. Yeagley traced the connection back 13 years, to a night when the pair were still teenagers playing their first gig. “We saw these kids playing, and we were like, these kids got it,” he recalled. The relationship deepened over the years — Crobot would crash at the brothers’ parents’ house while on tour, and the family would return the favor with home cooking and freshly folded laundry.
When the previous rhythm section moved on, there was never really a question of who was coming in next. “Who else could we have gotten that is as passionate about the project as we are?” Yeagley said. “Nobody, aside from these kids that grew up playing Crobot songs and really just grew up loving the band.”
The new lineup sort of reshaped the album entirely. Songs that had been sitting on the shelf for years, some written during the Mother Brain era, suddenly found their place. The process became collaborative in a way it hadn’t been before, with the new members voting on which tracks made the cut alongside Yeagley and guitarist Chris Bishop. “You’re asking big fans to pick what they like,” Yeagley laughed.
The DNA of Crobot‘s sound, Yeagley is quick to point out, hasn’t changed. “It’s Clutch mixed with Dio, mixed with Soundgarden, mixed with Rage Against the Machine and everything in between.” The band’s commitment to fun and authenticity remains the filter through which everything passes. “Can you bob your head? Can you shake your hips? Does it make you just feel good?” Those are the questions that still determine whether a track survives.
One of the standout songs on Supermoon is “Me and Your Mother,” a George Clinton-flavored deep cut that Yeagley describes as “me being my most George Clinton in our discography.” It’s also deeply personal. “The song came before,” he explained. “We worked on it when my wife was pregnant with our first, with Presley.” The track is, in the most Crobot way possible, a funk-laced creation myth dedicated to his daughter — and, as Yeagley put it, his preferred method for eventually having that conversation. “I’m just gonna put this on. I’ve already told it to you.”
Throughout the interview, the bond between Yeagley and Bishop comes up repeatedly, and it’s impossible to ignore. They’ve been building Crobot together for the better part of a decade, and the relationship has clearly outlasted the band’s various lineup configurations. “We truly love each other,” Yeagley said plainly. “Every time we get off the phone, we say I love you.” He also happens to have Bishop‘s face tattooed on his arm — which, he acknowledged with characteristic humor, may finally necessitate getting his wife’s name on the other one.
As for what comes next after Supermoon, Yeagley is characteristically unbothered. Crobot will tour, write, and trust the process. “It’s the easy scale,” he said of how they evaluate new material. “How easy was this one? Was it really easy? Then it’s probably better.” Given how Supermoon came together, that philosophy seems to be working just fine.
To preorder Supermoon and its various bundles, head over here.
The post BRANDON YEAGLEY Talks CROBOT’s Creative Process For New Album “Supermoon”, New Line-Up & Band’s Sound DNA: “It’s CLUTCH Mixed With DIO, SOUNDGARDEN & RAGE AGAINST THE MACHINE” appeared first on Sonic Perspectives.
Two years ago, Kurdt Vanderhoof was done. Not on a break, not between albums: done. Metal Church had been shut down, the band told, the door closed. He had other projects, other plans, and apparently no shortage of conviction. “I just let it go to sleep,” he says. “I wasn’t going to announce anything. I shut the band down, told everybody, best of luck, you know — and I wasn’t going to do it.”
Then the calls started coming in.
“All these really good people started expressing interest in being involved, and I couldn’t say no.” That’s how Dead to Rights — Metal Church‘s fourteenth studio album and, depending on who you ask, one of their most vital in decades — came to exist. Not from a grand plan, but from a series of conversations Vanderhoof apparently couldn’t bring himself to turn down.
Photo by Rick MoyerThe result is a lineup that, on paper, reads almost absurdly loaded: drummer Ken Mary, bassist David Ellefson, vocalist Brian Allen,and longtime guitarist Rick Van Zandt, alongside Vanderhoof himself. It is, by his own admission, three-quarters rebuilt. But the bones are still recognizably Metal Church.
A lot of what makes Dead to Rights feel like a genuine return rather than a nostalgia exercise comes down to Allen‘s voice. Vanderhoof is candid about it. “David Wayne was a huge influence on him. Mike Howe as well. But David Wayne was a huge influence on his voice — so it has that sound just by his voice alone.”
That wasn’t an accident, exactly, but it wasn’t entirely calculated either. Vanderhoof describes the writing process as something that quietly bent toward the past once he knew who was going to be singing. “Knowing when I was writing the songs that his voice would sound like that, it kind of subconsciously allowed me to go in that classic direction. It kind of directed it, sort of.”
The album leans into that instinct. Opening tracks hit hard and fast; “Fck Around and Find Out,” the lead single, has been closing in on half a million YouTube views since its release. But Dead to Rights isn’t content to bludgeon for nine tracks. Songs like “Heaven Knows (Slip Away)” dial back the aggression in favour of melody, something Vanderhoof* sees as essential rather than incidental.
“I don’t like making a one-dimensional record if I can avoid it. I think it’s important to have balance.” He traces this impulse back to the Mike Howe era, when Metal Church began drifting further from their thrash origins toward something more melodic, more song-focused. “By today’s standards, we’re a hard rock band, by what’s considered heavy now. And that’s fine — but that’s just not my deal.”
Album opener “Brainwash Game” takes aim at online culture with the bluntness the title implies. Vanderhoof is measured about it in conversation — he’s not ranting, just observing — but it’s clear the subject gets under his skin in a low-level, persistent way. “You’ve got the professional trolls,” he says. “People who spend their day doing nothing but disliking videos and posting stuff anonymously, just insulting. And a lot of them are bots. It’s a really odd world.”
He brings up Rush unprompted, specifically, the online reaction to their recent reunion tour. As someone who counts them among his favourite bands of all time, he watched the pile-on with visible exasperation. “He’s singing great, but he’s singing differently because he learned how to actually sing, as opposed to when he was a kid, screaming. You have to learn how to sing, especially when you get up in our age.”
The broader point matters more to him than any particular band’s defence. “They’re one of the best bands in history,” he says flatly. “You don’t have to like it, but you don’t have to say stuff. Everybody gets that, no matter how good or how great you are.”
It’s a position he extends to his own work. Politics, opinion, provocation — none of it finds a direct home in Metal Church lyrics, deliberately so. “I definitely have my views politically, but I don’t like to mix that into the music because I like music to be an escape. It’s so divisive — the internet, social media, everybody’s got an opinion.” His preference is to observe rather than instruct. “I like to leave a little bit like, I wonder what he’s really saying. It’s more fun that way. And it’s just a little more artistic about it.”
Vanderhoof‘s decision to step back from touring in the late 1980s, at a point when Metal Church were selling records worldwide, is one of the more fascinating threads in the band’s history, and he addresses it without excessive drama. Part of it was financial disillusionment. “The word ‘recoupable’ became extremely — I really finally figured out what that meant,” he says, with the dry delivery of someone who took their time getting to the punchline. “You’re selling a lot of records and touring all over the world, and suddenly you go, I’m broke.”
But the more lasting motivation was craft. Recording The Dark with a proper producer flipped a switch. “The light bulb went on for me. I wanted to learn how to do this.” He knew that meant getting off the road.
“I love the shows — always did love the shows. But there are 21, 22 hours a day where you’re bored out of your mind. And when you’re 21 and immortal, drugs and alcohol certainly become a big part of it.” He pauses, then borrows a line from Rush: “You’re only immortal for a limited time.”
He’s clear-eyed about the cost. “That probably affected the trajectory of the band.” But equally clear about the tradeoff. “I wouldn’t be here today if I didn’t do that.”
Metal Church head into 2026 with a tour that takes in the US Northeast, Canadian dates, a run of European festivals, and slots alongside Testament, Black Label Society, Iron Maiden, and Alice Cooper. The setlist will lean on the classics — it has to, with fourteen albums and a singer who can credibly handle the old material — but expect two or three cuts from Dead to Rights to make the cut as well.
What’s most striking about Vanderhoof in conversation isn’t the optimism, exactly; it’s the genuine bewilderment. He tried to end this band. More than once. “Every time I think it’s dead, it’s like, haha — fake you out.” He doesn’t say it with frustration. He says it like a man who has long since stopped fighting the fact that Metal Church, despite everything, still has more to say.
“I still get to do this. I still get to play music. And that’s why you do it for the love of music. I think that’s the most important thing for me.”
Fourteen albums in, and apparently, the band agrees. Dead to Rights is out now. Grab it here.
The post METAL CHURCH’s KURDT VANDERHOOF Talks New Album, Burnout & Walking Away From The Band He Built: “Every Time I Think It’s Dead, It Fakes You Out” appeared first on Sonic Perspectives.
Rik Emmett didn’t rush back to Triumph. He had to be talked into it, pitched like a reluctant investor, and the closing argument didn’t come from ticket projections or streaming data. It came from his wife.
The band had been assembling their case for a while. The NHL had started using a Triumph song during the Stanley Cup playoffs. The reaction was strong enough to move metrics — the band hit number one on Shazam. Gil Moore and Mike Levine came to Emmett with all of it laid out. He took it home.
“So I go to my wife, who’s the ultimate authority on everything for me. And I go, OK, honey, they’re talking about going back on the road. And she goes, let’s do pros and cons.” The first proposal he offered: he’d have to hire a trainer and get back in shape. She stopped him there: “She said, stop right there, bro. That’s a good enough reason. I don’t need to hear any other reasons [Laughs].”
He’s been going to the gym ever since. There’s a personal trainer. There are ten-pound weights, which he admits with a laugh he’s calling “women’s weights.” And there’s the matter of the double-neck guitar — thirteen pounds on the shoulder — which is precisely why none of this is optional.
Rehearsals with Moore started in January, with the wider band coming in March. That wider band is significant: Phil X, Todd Kearns, and Brent Fist join to flesh out what Emmett cheerfully calls the first-ever six-piece power trio. The dynamic is new, but Emmett has thought carefully about how it needs to work.
“I really want those guys to feel like shareholders — stakeholders — in what this is. It’s not ‘they’re sidemen playing Rik‘s songs.’ This is becoming your song now, too. You have to invest yourself in this.”
He’s not just being diplomatic. The argument he’s making is actually about what makes the songs matter in the first place. The Triumph catalog has outlasted the band’s original run precisely because the music found its own life, in arenas, in sports broadcasts, in the playlists of people who weren’t born when some of these records came out. Phil X, he says, is already holding on to it.
“The fans sit out there and go, this is the soundtrack of my life. I’m not going to let this go. And you go, OK, good — because this guy Phil, who’s an unbelievably great guitar player, he’s holding on to it, too. And he’s going to make it happen for you.”
Photo by Trevon MarshThe scale of what’s coming is not lost on Emmett. Toronto has seen him in intimate rooms, with an acoustic guitar and a jazz sensibility. Arenas are a different proposition: scripted, production-heavy, built on grand gestures rather than quiet moments. He acknowledges the difference, but doesn’t seem rattled by it: “When you’re doing a big show, it’s grand gestures, and it’s lights, and it’s production, and it’s scripted. You’ve got to hit your marks. This is where the flashpots go off. It’s like being in a play more than improvising.”
The physical part is what he’s working on. There are moments in rehearsal, he says, where he catches himself sitting down and has to remind himself to get up, move around, find the rock star posture again: “I spread my legs in the rock star pose, and I lift my guitar up, the grander gestures. And I go, all right — I have a lot of motor memory for that. I’m comfortable in that skin.”
He invokes Keith Richards and Mick Jagger to make a point about how two completely different kinds of performers can occupy the same band. Emmett knows which one he is — the one who runs around with a Flying V between his legs — but he also knows there’ll be space for the other guy in there too.
Relearning the catalog has been its own strange experience. Moore will reference something from a record, and Emmett will find he’s forgotten it entirely. He listens back, watches his own hands on the old footage, and something clicks: “It’s like you’re rediscovering yourself. And maybe this is what Alzheimer’s is like — everything’s new again. Everything’s fresh. I’m making fun of it. But it is an interesting and enjoyable process.”
He remembers Neil Peart describing the same thing after Rush came back from time off — the band sounding, in Peart‘s words, like a bad cover version of themselves for the first two weeks. Emmett recognized it immediately: “There’s a lot I’m going to have to remember.”
What’s keeping him going, beyond the trainer and the rehearsals and the logistics of a major tour, is something more personal. His grandchildren — who call him Bubba, not grandpa — have never seen this version of him. His family knows the acoustic shows, the intimate sets. They don’t know the arena: “To share this across two generations — what a beautiful gift. What an unbelievably great thing to have happen.”
He pauses, then adds the caveat that’s pure Emmett: “I just hope I don’t fall down and split my pants.”
There’s a poetry book coming too, written during COVID, published through ECW, built around an alter ego called Alvaro Fallas, who lets him say things that optimistic arena rock never quite permitted. But that’s a different conversation. Right now, Triumph has a chapter left to write, a tour to deliver, and a guitarist who’s been doing women’s weights for two months to make sure he can carry a thirteen-pound double-neck guitar across North American stages.
He’ll be ready.
The post RIK EMMETT Explains How TRIUMPH’s Return To Touring Became Inevitable: “There’s Still A Chapter Left To Write” appeared first on Sonic Perspectives.
Thirty years is a long time to be away. But for Triumph drummer and vocalist Gil Moore, the band’s 2025 comeback tour wasn’t the result of a grand design: it was a chain of unexpected events that eventually became impossible to ignore: “It was a series of steps,” Moore says. “You couldn’t make this stuff up.”
It started with the band’s documentary, which sparked renewed interest in Triumph‘s catalog. Their label followed with a tribute album produced by Mike Clink, pulling in contributors including Larry Gowan from Styx, Nancy Wilson from Heart, Slash, and Phil X. Then came the NHL playoffs, when “Lay It On The Line” became the unofficial soundtrack to Edmonton’s Stanley Cup run on Rogers Sportsnet. One thing led to another.
“Rodgers Sportsnet decided, well, we want you guys to play at the NHL finals. And I was kind of like, well, I always wanted to be a hockey player. So for me, it was like, OK, we’re going to the Stanley Cup playoffs.”
The band played the event without the original bassist, Mike Levine, with Phil X on guitar and Todd Kerns on bass. Brent was brought in for a double-drum setup alongside Moore. What started as a one-off turned into something bigger when Live Nation came calling.
“It fell together like that,” Moore says. “There was no crazy plan. It was just how the ball bounced.”
The tour lineup — Moore and Rik Emmett, anchored by Phil X, Todd Kearns, and second drummer Brent — gives Triumph more firepower than they’ve ever had on the road. Moore is unapologetic about how seriously he’s approaching the physical and musical challenge of going back out: “I did not intend on going back on the road,” he admits. “So that was a challenge, but it’s been a fun challenge.”
He’s been working out, working with a drum coach, starting, by his own request, from absolute zero, and running vocal warm-ups on backing tracks during his commute. His vocal coach, a classical tenor who taught bel canto, is the person Moore credits with changing his relationship with singing entirely: “He said, ‘Gil, I don’t care how you sing. You can be like one of these rock idiots that yells, or you can be Pavarotti.’ And then he made me like singing.”
Moore describes the process of playing drums and singing simultaneously with characteristic bluntness: “It’s like being an electrician and a plumber at the same time. Sooner or later, you get your hand on the drain, and you touch the 240 volts.”
The expanded lineup also means more vocal firepower. Moore is effusive about Phil X‘s growth as a singer and equally enthusiastic about Todd Kearns: “Phil X, I cannot tell you how amazing his vocals have become. He gets better every single year. And Todd Kearns — anybody can watch him on YouTube and just see, man, this guy can just sing his butt off. We’re going to have more vocal horsepower than we ever had.”
The show itself is being built with the same theatrical ambition that Triumph became known for in their prime. Moore recruited lighting designer Paul Dexter, whose company is named Masterworks, and is incorporating new visual technology, though he’s careful to distinguish purposeful spectacle and what he calls “video noise.”
“A lot of the presentation, a lot of the video and stuff is kind of superfluous. It’s just kind of what I call video noise, a bunch of eye candy that’s not saying anything about the music, not tied to the music. Flash is cool if it links to and locks on to the music and the message in the lyrics. And if it doesn’t, then it’s just a bunch of flashing. Flotsam and jetsam, in my opinion.”
When asked about the possibility of new music, Moore doesn’t close the door. He points to how unpredictably the tour itself came together and suggests a song could surface just as naturally, from a lick on the bus, a melody in a hotel room: “I don’t rule anything out. I just let the future roll out in front of us.”
Off the road, Moore has spent decades running Metalworks, the Mississauga complex that houses recording studios, a sound and lighting company, and a music school. He’s troubled by the decline of music education in public schools and recently launched Sounds Unite Canada, a free mobile platform delivering music education and wellness resources across the country.
The origin of his own drumming career is, fittingly, a story about a teacher who didn’t want drummers in his class: “He said, ‘Drummers are idiots. So no one’s playing drums.’ And then he stopped, scowled, turned around, and said, ‘Is there anybody in here that actually knows how to play?’ My friend Gord put up his hand.”
Moore, stuck on the trumpet due to his braces, eventually pried his way into the practice room with a bleeding lip as proof of hardship. The teacher handed him 26 American rudiments, pointed him toward a soundproof room, and told him not to come out. Forty-five minutes a day, five days a week. That was the beginning.
The tour documentary is already in the works. Moore plans to film a second chapter of the Triumph story, one that answers the question the first left hanging: “The first documentary kind of ends with us going into the sunset, and there’s like a big question mark. OK, so what’s next? And there is no what’s next. So now we know what’s next.”
As for Rik Emmett, Moore is delighted. “I haven’t seen Rick Emmett this excited since he was 18 years old. He’s like a bear at the fair.”
Get your tickets here.
The post GIL MOORE Talks TRIUMPH Reunion & Upcoming Tour: “I Haven’t Seen RIK EMMETT This Excited Since He Was 18 Years Old” appeared first on Sonic Perspectives.
Pyramid Theorem guitarist Sam Ermellini is the kind of person who talks about music the way most people talk about their friends: with genuine enthusiasm and without too much ceremony. The Toronto-based prog-metal trio has been at it since 2007, when Ermellini and bandmate Christian were still in high school playing Rush covers and figuring things out. A few albums and nearly two decades later, they’re releasing a new single featuring one of prog rock’s most recognizable voices.
The band — Ermellini, Christian on bass, and drummer Vito — has three albums behind them: a self-titled debut, Element of Surprise, and Beyond the Exosphere. The new track, “Open Hearts,” features Dream Theater vocalist James LaBrie, and the story of how that came together is about as Canadian as it gets.
Christian plays in another band called Falsett, which includes LaBrie‘s son Chance. That connection brought LaBrie out to watch Pyramid Theorem‘s Rush tribute project, Crush, perform one night — and he ended up in the crowd without much fanfare. “Next thing I know, I see James LaBrie in the crowd watching us play,” Ermellini recalls. “I’m like, oh crap. But yeah, we put out a feeler, see if he’d be interested in it. And he was down to help us. He really supports us. And we thank him just for even being on the track in general.”
The song itself was built with LaBrie‘s voice specifically in mind from early on. Christian had the bones of it, a chorus chord voicing that the band immediately latched onto, and the writing process moved from there with a clear target. “We asked ourselves: what would work well with his voice? And what do we want to hear him rip?” Ermellini says. “It worked out for us.”
What makes “Open Hearts” more than just a well-cast feature is the instrumental section sitting at its center. Ermellini is quick to credit the collective instincts that shaped it. “We were going for that Deep Purple kind of just slamming ’70s style,” he says. “We love all that Deep Purple, we love Zeppelin, all that Beatles stuff. So it was natural for us to write that kind of style for the solo section.”
The recording process was split across locations. The band tracked the song at Strata XR with engineer *Darius Szczepaniak, who gave Ermellini exactly the guitar tones he was after — EVH-style with a Marshall pushed hard. The pre-production was then sent to LaBrie, who recorded his vocals independently before the full band reconvened at Chance‘s place to lay down harmonies and backing vocals. Mixing and mastering were handled by Richard Chycki, who also produced Beyond the Exosphere and is close enough to the band’s world that LaBrie*‘s son was in the room for part of the process.
The Sound They’re ChasingWhen asked to describe Pyramid Theorem‘s musical identity — particularly where the new album is heading — Ermellini doesn’t reach for anything complicated. “We’re leaning into that metal rock sound like we usually do, and there’s a lot of Rush juice in it,” he says. “I’d like to think we have a little bit of that old school sound in our stuff. It’s not as modern as the prog that’s out nowadays.”
His shorthand for the band’s DNA is direct: “If Rush, Ozzy Osbourne, and Pantera kind of had a baby, it would be Pyramid Theorem. That’s the sound we’re going for, at least.” Interviewer Rodrigo Altaf floated the addition of Van Halen to that equation, and Ermellini didn’t argue. “I love Eddie. He’s my favorite player that’s ever played guitar.”
That list of influences runs deep. Ermellini‘s formative years on guitar were shaped by Van Halen, Ozzy Osbourne, Randy Rhoads, Zakk Wylde, Joe Satriani, Steve Vai, Ritchie Blackmore, and Jimmy Page, the full spread of ’70s and ’80s guitar royalty that informed a generation of players who grew up wanting to make a lot of noise with a lot of feel.
The new album doesn’t have a title locked in yet; drummer Vito apparently keeps a black book of potential ideas, but Ermellini describes the material as having more room in it than previous records. “There’s a lot of air in this music. The song structures are a little bit deeper. I feel like it’s music where you’re looking forward to the next part.”
Photo by Dustin RabinCrush, And What’s NextThe Rush tribute project, Crush, has become something of a calling card for the band beyond its original December purpose. Past sets have included full run-throughs of Rush‘s 2112, A Farewell to Kings, and most recently Permanent Waves straight into Moving Pictures — a combination they called “Permanent Pictures.” Next up might be Signals, though nothing is confirmed yet.
For Ermellini, Crush serves a practical function beyond the joy of playing the material. “Half the time they’re like, ‘the Rush set was awesome,’ and then we’re like, ‘well, we got a band, right? Come check us out.’ And sure enough, the people do, and they support us. We’re so grateful for that.”
The band is set to open for Stick Men at the Garrison in Toronto on April 8, with the “Open Hearts” single dropping two days later on the 10th. A Canadian touring run is planned through late May and into June, with hopes of getting into the United States in the fall. Ermellini is pragmatic but optimistic about the longer road: “Every little bit helps, and all the support helps. We want to get on the road as much as possible.”
The post PYRAMID THEOREM’s SAM ERMELLINI On Their New Single Featuring JAMES LABRIE: “We Were Thinking, What Do We Want To Hear Him Sing?” appeared first on Sonic Perspectives.
Matteo Mancuso is mid-tour and mid-breakfast when we catch him. It’s 10 AM on the road somewhere in the US — a luxuriously late start by his band’s standards — and the Sicilian guitar virtuoso sounds settled, cheerful, and remarkably clear-headed for someone who has to shred for ninety minutes every night. Route 96, his second album, isn’t out yet, but it’s already spilling out of venues across the country: the setlist is built almost entirely around new material, and the audiences are filming it all.
Mancuso is not entirely thrilled about that last part. “A lot of people are doing live videos with their phone, and they’re uploading sometimes the old concert on YouTube,” he says. “I’m not necessarily a big fan of that, but it’s how it works today. You cannot escape that.”
The Anatomy Of His Second RecordRoute 96 arrives carrying more weight than a typical sophomore effort, partly because of who shows up on it. Steve Vai contributes a solo to a track called “Solar Wind,” a collaboration pieced together remotely through audio files exchanged across a busy tour schedule. Mancuso had the solo back in under a month.
What makes the track notable isn’t just the guest. It’s the intent behind it. “It’s not fusion, it’s not jazz,” Mancuso explains. “It is, let’s say, my attempt to write something that was the most Steve Vai thing I could ever imagine. Just to put him in the right mood, because I already knew I needed to send this track to Steve, and it needed to be something that Steve was comfortable playing with.”
He also brought in guitarist Antoine Boyer for “Isla Feliz,” filmed at a theater in Mancuso‘s hometown of Palermo. The track was built as an experiment in layering — electric guitar, classical guitar, and gypsy jazz all occupying the same space. “There are a lot of Pat Metheny influences, a lot of Brazilian music,” he says. “The theme itself is South American-inspired in a way. There’s the European jazz with Antoine, there’s the electric part of it — and I think it came out great.”
The album also includes “L.A. Blues One,” which Mancuso describes as a tribute to the session players who shaped his sound: Steve Lukather, Larry Carlton, and others. It’s the kind of track that doesn’t announce itself; it just feels like a long drive somewhere warm.
The Architecture Of The AlbumTrack sequencing, Mancuso says, is something he thinks about deliberately. The opening track has to be one of his favorites. Ballads are placed to give the ears a rest between the more demanding material. The pacing of Route 96 reflects that careful construction: calmer pieces like “The Great Wall” and “Mourning Light” sit alongside harder-charging ones like “Black Centurion” and “The Chicken.”
The recording process also shifted significantly from the debut. The first album leaned into the looseness of playing without a click track. This one was built around demos first, with the Milan-based rhythm section — bassist and drummer — recording their parts before Mancuso added the guitars on top. The result is denser, more layered. “It sounds a little bit fuller compared to the first one,” he says, “because there are a lot of guitars, especially on some of the songs.”
Mancuso‘s name gets attached to jazz as often as it does to rock and fusion, and there’s a reason for that. His playing carries the harmonic language of the genre, but he draws a firm line when it comes to tradition for its own sake.
“I really like in my music the power and the energy of rock, and the colors and the harmonic sophistication of jazz,” he says. “I always try to combine both. But I was never attracted by playing jazz standards, because I don’t think it’s something you should do in 2026.”
He’s direct about it: a power trio playing jazz standards, in his view, is an exercise in musicianship — not a viable artistic project. “It’s been done. You have to do it, but more as an exercise to develop your musicianship, not as a project centered on jazz standards. I don’t think it’s an interesting musical project.”
Photo by foto Paolo Terlizzi Life On The RoadBefore 2021, Mancuso wasn’t touring at all — by choice. He was happy playing the occasional gig, spending most of his time studying and playing with friends. He didn’t want to call venues, didn’t want to manage logistics, and didn’t particularly enjoy planes. What changed wasn’t his personality; it was having a manager who took on the infrastructure, so he didn’t have to.
“Ninety percent of the work behind is my manager doing all that stuff,” he says. “So I’m happy because I can think only about the playing part.”
That manager spent nearly a year securing work visas for Mancuso and the rest of the band. Touring the US, he’s careful to note, came through the proper channels. “If Trump is listening to me right now, I’m 100 percent completely legal.”
The playing, he says, is only about ten percent of what touring actually involves. The rest is travel, meals, shared vans, and navigating the logistics of getting from one city to the next. Getting along with the people around you isn’t optional — it’s what makes or breaks a tour.
Photo by Paolo TerlizziThe Practicing RoutineAsked what someone at his level actually works on, Mancuso doesn’t glamorize it. He still runs through basics — scales, arpeggios — because the alternative is falling behind faster than you’d expect. “Progress is slow, but decay is fast if you don’t play the basics.”
But the approach isn’t rigid. He has no set routine, no hour-by-hour schedule. If it stops being enjoyable, he changes what he’s doing. “If it feels like work, that means you’re doing something wrong.”
Most sessions start reluctantly and become something else. He picks up the guitar, plays for ten or fifteen minutes, and then finds his way into whatever is holding his attention — a solo he wants to learn, a passage that challenges him, something he hasn’t tried before. “Sometimes it starts like something I don’t want to do, but then it develops into something that I would like to continue.”
His Bucket ListThere are still names Mancuso wants to share a stage with. Eric Johnson is near the top — a player who, it turns out, has spoken publicly about Mancuso, something that meant a great deal when he saw the video. Guthrie Govan is another. George Benson. Pat Metheny, whom he describes as one of his favorite musicians, regardless of instrument.
And then there’s Allan Holdsworth — the one name on the list that carries a different weight. “I would love to have played with Allan Holdsworth, but it’s too late, sadly. I never saw him live. That’s one of my biggest regrets in life.”
Route 96 is out soon. The tour continues. Pre-order the album here.
The post MATEO MANCUSO Talks New Album “Route 96”, Touring America, Influences & More: “I Would Love to Have Played With ALLAN HOLDSWORTH — That’s One Of My Biggest Regrets in Life” appeared first on Sonic Perspectives.
Michael Monroe walked onto the stage at the Racket Club in New York City last April with a broken meniscus. Nobody in the crowd would have known.
“On stage, I don’t show my pain,” he tells Robert Cavuto. “So that’s why I was limping.”
The knee had gone at the worst possible time, just before the U.S. tour kicked off. He pushed through it anyway, then kept pushing through a U.K. run that followed. Things got worse during a gig when he put his full weight on it wrong. “I just heard a crunch,” he says. By the end of the year, surgery was unavoidable. He had it done on January 8th, cutting it uncomfortably close to the band’s next run of UK dates.
The injury eventually forced the cancellation of a five-week U.S. tour, a decision that clearly still stings. “I was so upset we had to cancel,” Monroe says. A return is being planned, though no dates are confirmed yet.
None of this slowed down the record. Outer Stellar, released this past February, is Monroe‘s most considered album in years: polished, melodically sharp, and built on a stockpile of material that far exceeded what ended up on the final track listing.
“We had like between 40 and 50 songs to choose from, really,” he says. “It’s just a question of getting the track listing, choosing the songs, and making an entirety that works.”
That process took time, deliberately so. Deadlines came and went. The band, spread across continents with Steve Conte in New York and Monroe based in Finland, doesn’t have the luxury of being in the same room often. When they do get that opportunity, it shows.
Outerstellar is packed with twelve explosive, hard-hitting songs delivered with unmistakable swagger and attitude. Infectious melodies that collide with memorable guitar riffs, creating a modern rock statement rooted in rebellion and grit. You’ll feel the electricity running through you on songs like “Rocking Horse,” “Disconnected,” and “Painless.”
The most productive stretch came at a rented villa outside Helsinki — a residential studio where the full band lived and worked for five days. “We wrote a song per day,” Monroe says. “We lived in the house, and there’s a studio downstairs.” No pressure, no agenda. “What kind of song should we do today?” was about as structured as the conversation got.
Two of the album’s standout tracks came directly from those sessions. “Rocking Horse” was one. The other was “One More Sunrise” — the album’s seven-and-a-half-minute centerpiece, born the day Rich Jones put on Bruce Springsteen‘s “Jungle Land” as a starting point. The working title was “Sauna Land.” “We decided one day… why should every song be three minutes? Let’s just make it as long as it takes,” Monroe says. “And that’s what came out of it.”
Not everything on the record is that recent. “Pushing Me Back” dates back to the One Man Gang sessions from 2018 — it didn’t fit that album, didn’t fit I Live Too Fast to Die Young either, and finally found its home here. Three other tracks — “Road to Ruin,” “Shinola,” and “Precious” — came from a handful of demo days at a studio in Helsinki run by the band’s guitar roadie Bobby. “We figured it may sound good enough, just get a great mixer,” Monroe says. That mixer turned out to be Dave Draper, a first-time collaborator who’s now firmly in the camp. “He’s my man from now on,” Monroe says.
Lyrically, Monroe has always worked with deliberate openness, avoiding the trap of being too specific, leaving enough room for listeners to bring their own meaning into a song. He traces that instinct back to a fan encounter that stuck with him. A kid once came up to him and explained at length how Monroe‘s track “Always Right,” from his Peace of Mind album, had changed his life, citing specific lines and what they meant to him.
“I was like, OK, whatever. All right. So, yeah, that’s what I meant.” He laughs. “That reconfirmed to me that really you can’t really be too specific. People can take things in completely different ways. It was nothing like I thought of myself. But then I thought, great — it helped this guy.”
“Road to Ruin” gets a closer look in the interview, and it comes with a detail that rewards attentive listeners. The spelling isn’t R-O-A-D — it’s R-O-D-E. Jones‘ idea, a deliberate play that separates it from the Ramones album of the same name. Monroe is visibly pleased that Cavuto caught it. “That was a very important point,” he says.
The track also carries a brief musical nod that Monroe is happy to name. In the half-tempo break before the solo, there’s a moment that echoes Alice Cooper‘s “Hello, Hooray.” “That’s a little homage to Alice,” he says. As it turns out, the album cover has a similar thread running through it. The close-up of Monroe‘s eye — his right eye this time, the left appeared on Sensory Overdrive — pairs with its predecessor to form a complete image across the two gatefolds. It was Jones who pushed for it. Monroe only later realized it unconsciously echoed the gatefold of Alice Cooper‘s Love It to Death, which had hung on his wall as a kid. “Maybe a little subliminal down the road,” he says.
The photo itself was taken by Monroe, through a mirror, on a phone. “The final picture I took,” he says, “it was like maybe a meter, or half a meter.” Not exactly a professional studio shoot, but that’s the point.
The album’s title came from Sammy, the same source behind Sensory Overdrive. “Outer stellar” is slang for something moving at a rapid speed. Even Monroe‘s English manager had to look it up. “I thought, yeah, let’s sleep on it,” Monroe says. “And the next day I thought, yeah, that’s the one.”
On stage in England, the band has been working on three songs from the new record — “Shinola,” “Disconnected,” and “Rocking Horse” — constrained by a one-hour slot on a co-headline run with Buckcherry. A US tour, with more time and more room in the set, would open things up. Monroe is already thinking about “Black Cadillac” and “One More Sunrise.” The latter’s piano part — played by Morgan Fisher of Mott the Hoople on the record — can be adapted for the live setting without much trouble.
When asked to look back on a solo career that stretches from Nights Are So Long in 1987 to now, Monroe doesn’t reach for nostalgia: “I maintain my integrity throughout the years and I’ve evolved and developed and I always just try to get better at what I do while staying real and being authentic and sincere and singing from the heart and never selling my soul or doing anything for the wrong reasons and no compromises for the wrong reasons. So that way, I feel good. I feel like I can look at myself in the mirror with a clear conscience and know I haven’t cheated and stayed true to myself.”
For a full list of upcoming shows and tickets, visit this location– more dates to be announced. To order Outerstellar, go here.
The post MICHAEL MONROE Breaks Down Recent “OuterStellar” Album, Explains Why He Doesn’t Reach For Nostalgia: “I’ve Stayed Authentic, Sincere, Singing From The Heart & Never Selling My Soul” appeared first on Sonic Perspectives.
Prog aren’t interested in cleaning things up. After a year on the road celebrating the 31st anniversary of Cleansing, Tommy Victor and company have preserved the whole thing on tape — warts, sweat, and all. Live and Uncleansed, out 03/06 via Steamhammer, compiles eleven performances captured across European venues and festivals in the summer of 2025, plus three bonus tracks. No touch-ups, no re-recorded vocals, no second-guessing.
That philosophy wasn’t accidental. When asked how difficult it was to resist post-production fixes in an era where everything can be corrected, Victor was unequivocal: “It was an easy decision to not go in and fix stuff because I thought resinging the songs would ruin the live intensity and force of the vocal. Also, the pure aggression of the guitars would be lost by overdubbing them.”
The setlist for the anniversary run was built to reflect three decades of the band’s catalogue without leaning too hard on sentiment. Victor describes a sprawling set that stretched past two hours, pulling from Cleansing in full while weaving in newer fan favourites and some genuine deep cuts — including “Senseless Abuse” from Force Fed and “Unfortunately” from Rude Awakening, the latter unplayed for roughly 29 years.
“We didn’t do too much balancing. We just played a lot of the popular songs and some more. Our set was over two hours.”
Energy management over that kind of runtime is its own discipline. Prong‘s approach was structural rather than physical — the set opened with the mid-tempo groove of “Revenge Best Served Cold” before escalating through thrash and landing on the big numbers late.
“Honestly, the beginning was never as energetic as later in the set. It’s just the way we designed the set… We hit them later with thrash, then get slower than but out the big songs. So there’s never a burnout early,” Victor explained.
One of the more notable choices on the tour was returning to standard E tuning for older material originally written that way. For Victor, the reasoning was straightforward: “E just sounds more in your face, I think. It has more of an attack. Things start getting more murky with thrash and crossover when you get lower than C.”
The lead single pulled from the record is “Snap Your Fingers, Snap Your Neck,” taken from their Wacken set. Victor doesn’t overthink the choice: “It’s the most popular Prong song. It’s obvious that would be the choice.”
As for where Prong hit hardest in a live setting these days, he’s equally direct — clubs over festivals, every time: “It’s the clubs. Anywhere I can actually stare at people and see their faces, that makes me more excited.”
Cleansing itself gets a measured assessment from its author. Not a creative pinnacle, but a commercial and cultural high-water mark that arrived at exactly the right moment — and one Victor believes the band left too soon: “It was a popularity peak. It came out great at the perfect time. We should have toured longer on that record and not gone into the studio again so quickly.”
That perspective seems to be feeding directly into whatever comes next. Victor says the follow-up to 2022’s State of Emergency is roughly 65% complete, and that revisiting Cleansing-era material on the road has had a tangible impact on the new writing: “I think half the record has an alternative metal vibe like side two of Cleansing… I think there are songs that sound completely different than anything out there. Other songs are fast bangers, lots of riffs, and aggressive.”
He also flags “Breaking Point” and “Non-Existence” from State of Emergency as songs he’s keen to bring back into the live set — two tracks that never quite got their due on the road.
On the subject of new material, Victor‘s approach has simplified over time: “I’ve learned my lesson; I don’t spend a huge amount of time trying to perfect songs. Some of the best songs were done quickly and not questioned.”
Live and Uncleansed is available now via Steamhammer.
The post TOMMY VICTOR Talks PRONG Recent Live Album And The Lack Of Post-Production Fixes: “Resinging The Songs Would Have Ruined The Live Intensity” appeared first on Sonic Perspectives.
Soen records usually land with a familiar problem for the band and for the fans. People hear growth, then argue about which era they want more of. Martin López is fully aware of that push and pull, and he talks about Reliance like someone who has already watched those reactions form in real time.
“Yesterday we had some kind of event because we also have a short documentary coming out,” he tells Rodrigo Altaf during their recent chat about the album’s arrival, “and I got the opportunity to reach out and see what people actually thought about the album. It’s good, man.” Then he puts the split in plain terms: “Because of the progression or the evolution we have made, there are, of course, people who want us to go back, and there are people who only want to listen to the new stuff. It’s always interesting to hear what people feel about the album.”
When the conversation turns to what Reliance is actually about, he meets a broad interpretation with a grounded answer. “We never go for a theme,” Martin says, “but we always end up talking about the things that we feel matter.” He ties that to the world outside the rehearsal room, too. “The environment of the planet right now, it’s giving us more lyrics than we have songs.”
That same “feel it first” approach shows up in the lineup talk, especially with bassist Stefan Stenberg back in the fold. Martin describes the return in a way that sounds more like a band chemistry fix than a reunion headline. “Stefan is, even when he left the band, he’s always been very close to us as a friend,” he says, and he frames his playing as part of what people recognize when Soen hit.
“The sound that he has, the way that he plays is part of the soul and identity somehow.” He credits Slavoj Žižek too, calling him “a fantastic bass player,” then circles back to the intangible part. “With certain musicians, you just have a chemistry that is the magic of music.” For him, you can hear the difference: “I think you can really hear it in this album,” because “the album is just less mechanical. It’s kind of bigger and grooves differently.”
Even their habit of one-word titles comes from the same instinct to let the listener do some work. Martin says it grew out of lyric writing sessions where the band tried to summarize songs too neatly. “We were writing lyrics,” he explains, “and trying to explain in a title what the lyrics were about.” Then the decision landed. “We just thought, look, man, we’re not giving a chance to the actual lyric.” The fix was simple, and it stuck: “Let’s just give it a title and let people dive in there and find themselves what they feel we’re talking about.” He laughs at how permanent it has become. “From then on, we just went for it. And now we can’t change it.”
The most pointed stretch of the interview comes when Martin talks about technology and the song “Primal.” Asked by Rodrigo if hefeels trapped by the phone, he answers without hesitation. “Of course.”
He goes straight to the part that hits home. “It’s also the worry that my kids have these phones.” Then he describes how quickly the algorithm can steer young people into something ugly. “I have two boys in that age where they start looking at a football game and then some gym stuff,” he says, “and then suddenly there’s some weird self-proclaimed alpha male telling them how they need to live life to be happy.” He spells out the message he hates seeing slide into their feed. “You shouldn’t be vulnerable, and you’re going to be strong, and you don’t need anyone,” and “when you are strong and have money, all the girls will come running after you.” The part that lands like a punch is how personal it feels. “And it’s like, fuck me. That is in my house. And I can’t stop it.” Then he names the fear without dressing it up. “That’s the technology that I’m scared of, man.”
When the talk moves to “Indifferent,” you can hear Martin shift from societal anxiety to the quieter weight of performance. He describes the studio as a place where a song’s emotion becomes real when the vocal finally goes down for good. “That’s kind of the fun of being in the studio,” he says, “all these different emotions that you go through when you really start putting down the emotions on the songs.” He explains the gap between having a demo and committing fully. “I write the song, and you can say, oh, this part is heavy, and this one is emotional,” then “you really have to step into character to do your 100 percent.”
He remembers the room during the vocal take. “I was there, and the producer Alexander was there, and it was quiet, man.” He repeats it because the mood mattered. “It was quiet, and it was beautiful and extremely sad.” Even after living with the track for years, the moment still hit hard. “When Joel goes for it, it really moves you.” He is already thinking ahead to playing it live, too. “I’m waiting to see how that is going to work live,” because “I think it’s going to be hopefully one too many tears.”
“Mercenary” brings him back to the album’s bigger questions, especially that line in the lyrics about bleeding for belief. Martin says the band played with the discomfort on purpose. “That’s a little bit of what we’re playing with there.” He ties it to upbringing and identity. “How we’ve been raised, with politics or religion,” and how “you can be born into something that you’re supposed to be ready to go all the way for.”
Then he adds the human escape hatch. “Maybe you don’t feel the same and just want an open door to run away in.” He calls the concept “very, very truthful,” and says it “makes you wonder.” When pressed on where the line is, he answers with a question of his own. “How far would you take it?” Then he flips it toward responsibility. “Because we are not extremists, but are you ready to bleed to stop the extremists?”
On the writing side, he connects that intensity to structure. “Velicor” builds and peaks in under five minutes, and he admits that kind of compression brings its own pressure. “You have less time to kind of.. to cook,” he says. “It’s a steeper ramp.” When asked if the punchier, more direct songs were planned, he kept the answer consistent with everything else he has said. “We never have any plans. We just go for writing the best possible song, whatever it costs.”
Near the end, he looks forward and keeps it practical. North America remains difficult for bands like Soen, yet he drops a simple promise. “I gotta say this, it’s not out, but we’re coming back in March, actually.” He lays out the road ahead like a working musician with a packed calendar. “We’re going to the 70 Tons boat,” then “a Scandinavian tour,” then “the tour in the US,” then festivals, and “most definitely” Europe next year, plus South America. He sums up the motivation in one line. “We want to get out there now and play these new, fresh songs, man.”
Photo by Linda FlorinIf someone asks where to start listening to Soen, he avoids the gatekeeping answer. “It depends on the kind of person that you are,” he says, because “there are different vibes on many of our albums.” His starting point stays current: “Start with the new one.” Then he points to another clear entry. “Also, Lotus is a good start. And then go from there.” He even makes it as simple as mood. “Do you like ballads? Then you can just pick your favorites from every album.”
And then he ends the whole conversation in a way that makes the band feel reachable, which fits the tone of his best answers throughout. If you show up early, he says, you can actually meet them. “We’ll be there,” and “let’s have a Fanta or something.”
The post MARTIN LOPEZ Explains Why SOEN’s New Album “Grooves Differently”, Recalls Studio Moment That Felt “Quiet… Beautiful… And Extremely Sad” appeared first on Sonic Perspectives.
Alan Morse’s scorching guitar has led Spock’s Beard over the past three decades through various incarnations of the band. His unique style of playing and performing has been a cornerstone of the band. During that time, he has only released one solo album of his own, the excellent jazz fusion album Four O’Clock and Hysteria. Considering that it was an all-instrumental album, it comes as a surprise that his new solo album, So Many Words, is a collection of vocal pieces largely sung by Morse himself.
After years of hearing that a new solo record was close, Morse talks about it like a finished thing that had to wait its turn. The delay was not mysterious, but simply messy. “All kinds of weird things happened,” he says, and part of it came down to conversations that stalled out. “There was a label we were talking to that might have put it out, but then that didn’t happen.” He describes a record that sat completed while the timing refused to line up: “It’s been really in the can for quite a while, but just scheduling just didn’t quite work out.”
Even with the album basically done, he kept working. “We tweaked a few things over the past year, but it’s pretty close to what it was a year ago.” Then he points to one late addition that changed the feel of the finish line. “Added some awesome, like, did a big gospel choir thing on the last song on ‘Behind Me.’ And that came out amazing. A couple of awesome singers came in and we just stacked it all up and made a huge choir.” For Morse, it was the kind of extra push that paid back the patience: “It makes it worth the wait.”
Morse has sung lead before in the Spock’s Beard world, even if most fans remember him first as a guitarist. “A couple of times,” he says. “There are a few of them where Ted’s, I wrote it, and Ted sounds a lot like me, but it’s actually him.” Then he reaches for one deep cut: “There was like, maybe it was like a bonus track called ‘A Moth of Many Flames,’ I think. I think I sang lead on that.”
Taking the mic for most of So Many Words brought a mix of nerves and pride. When asked how it feels to be the lead vocalist across the record, he does not pick one emotion. “Kind of all of the above,” he says. Then he gets specific about where he feels the payoff. “I think the vocals came out great. And some of it, I mean, I’m super proud of.”
Collaborating with top-notch musicians like Simon Phillips and Tony Levin, andSpock’s alumni Nick D’Virgilio, Jimmy Keegan, and Ted Leonard, Morse also brings in his son and daughter to join him on a couple of pieces. Of course, brother Neal Morse is included in the mix, sharing some lead vocal and co-writing credits. But this is very much Alan Morse’s own creation, with him stretching out further than ever before.
One of the biggest moments for Alan is the track he did with his brother. “There’s a big vocal extravaganza on the song that I do with Neal. It’s called ‘In the Shadow of the Sun.’” And he keeps coming back to the same reaction when he hears it back. “Every time I hear that, it just kicks my ass. I mean, I just think it sounds amazing. I’m so, so proud of how that came out.” He also flags another vocal performance that surprised him: “There’s this one called, ‘And It’s Time’ that I really like,” and later, “The vocals, I think, just came out. I’m kind of amazed that I could do that.”
There is also a clean line from the Spock’s Beard camp to this solo album. “Ted Leonard sings lead on one song, too, with all the Spocks guys,” he says. That track has its own backstory. “We actually recorded it,” he explains. “And for one reason or another, it just never ended up on a Spock‘s record. And so I thought, you know, I’ll just put it on myself, my own record, because I think it’s a great song.”
He even calls his shot on why it lands. “Jimmy Keegan just kills on that record, on that song,” he says, then zooms in on a very specific instruction he gave Keegan: “There’s one part where I said, ‘OK, dude, play just like Keith Moon, you know, play like Keith Moon.’ And he’s just perfect. He just nails it. It sounds just like Keith Moon.”
When the conversation lands on Tony Levin, it comes back to timing and modern collaboration. “If we could get anybody, who would we want? Oh, I’d love to just have Tony on it. And he was into it.” The limitation was his schedule. “He was getting ready to go on tour with Peter Gabriel, and so his schedule was a little tight. So he could only do the one song.” They did not track in the same room. “We just sent him the tracks, and he sent us back the thing. So I didn’t actually get to hang out with him.” Still, the reverence is obvious when he flashes back to the first time he saw Levin live. “He’s always been one of my heroes ever since I saw him. And the first time he toured with King Crimson, they came out with Adrian and him.” Then he sums it up the way fans do when they run out of adjectives: “I saw them in a little club in Hollywood, and it was just magic.”
The record also leans into texture, which is where Morse has always been sneaky-good. When the interviewer calls out the title track’s bouzouki, mandolin, and electric sitar touches, Morse explains the mindset. “I like, you know, throwing all the different instruments and stuff, because that’s fun,” he says, and he ties it directly to his own standards: “I like to try to do something different every time, you know, something that I haven’t heard already.”
If there is a downside to all of this for fans in the U.S., he calls it straight. “I’d love to play some U.S. gigs,” he says, then lays out the problem: “Art touring is pretty hard in America. It’s so spread out.” Even one show can turn into a grind. “You fly all the way to, I don’t know, New York, and do one gig and then turn around and fly back. It’s kind of rough.” He still talks like someone looking for a workable angle: “Maybe we can figure something out. It would be cool to at least do a West Coast thing or something, maybe or an East Coast kind of deal.”
And because Morse never sounds like someone who only has one gear, the interview veers into one of his other obsessions: the Cyclotron, spelled “with a P-S-Y-C-H.” He describes it with the excitement of a guy showing you a new pedal or a weird instrument. “It’s super fun,” he says. “Anybody can play with it. You don’t have to be an artist, but you can make amazing-looking animations, and you can play with it, and it’s low-tech.” Then he gives the best part, the part that explains why it is hard to describe in plain text. “There are no screens, no computers,” he says. “It involves a large turntable,” and when you hit it right, “you kind of hit it with a blacklight strobe, and the stuff starts to animate, and it looks, it’ll just blow your mind.”
That is the thread running through So Many Words. A long wait, a lot of detail, a lot of voices, and a lot of moments where Alan Morse sounds genuinely surprised by how strong the final result came out.
The post ALAN MORSE Reveals He’s Got “So Many Words” To Say: “Not Everybody Can Relate To Instrumentals, So I Wanted To Do Something For People Who Like Words” appeared first on Sonic Perspectives.
This October, singer, songwriter, and visual artist Chloe Trujillo launched a bold new chapter of her musical career with the release of her first single, “As the Sky Is Falling Down.” The song serves as the opening statement from her upcoming four-song metal EP, Rebirth, due out March 5th.
While her past releases explored a wide range of musical genres, Rebirth represents a turning point, an artistic surge where experimentation gives way to clarity and self-truth. The result is a collection of guitar-driven metal songs that are her most personal and emotionally honest work to date.
The hypnotic and fiery lead single, “As the Sky Is Falling Down,” explores the search for inner calm amid the chaos rising above negativity, while trying to remain grounded and strong. At the same time, songs like “Lies” and “Thumbs Up” showcase your ability to throttle between clean melodic vocals and full guttural screams.
At the core of Rebirth is Chloe as the driving force, writing with a clear musical vision while working closely with producer Jake Carmona, who also handled guitar, bass, and instrumentation to shape the EP. Songs that are a bold and ambitious evolution of Chloe’s abilities to shift into the metal realm that transport listeners on a multi-faceted journey.
Please visit her website to pre-order Rebirth in the coming weeks.
Robert Cavuoto spoke with Chloe about the songwriting process for Rebirth. She shares that some ideas are written the traditional way using guitar or keyboards, while many of her musical ideas emerge while she’s painting. In those moments, melodies and words arrive organically. Other times, inspiration comes when she awakens from a dream, with late-night recordings whispered into her phone. For Chloe, creativity is less about control and more about acting as a conduit, allowing ideas to pass through freely, whether visually or musically.
Thematically, Rebirth is shaped by Chloe’s spiritual outlook and life experiences, including trauma. Rather than viewing hardship as defeat, she sees it as a catalyst for growth. This philosophy runs throughout the four songs, which emphasize the long arc of personal growth that only becomes clear years later.
Throughout the interview, she reflected on how maturity, coupled with confidence, has changed her relationship with creativity. Where she once hid lyrics in notebooks or burned them out of fear of being seen when she was young, she now views openness as essential. With many songs completed and ideas still swirling, Trujillo hopes to put together a band and tour once she has a full album.
The post CHLOE TRUJILLO Offers Details About Her Upcoming Metal EP, “Rebirth”: “It Takes Courage To Share Your Emotions” appeared first on Sonic Perspectives.
If you come into Greg Howe’s conversation with Rodrigo Altaf expecting a victory lap about chops, you’ll get something else: an artist who keeps dragging the discussion back to intent. Yes, the new Darwin album, Distorted Mirror, has the kind of playing people shorthand as “shredding.” But the first thing Howe does is try to remove the word from the center of the story: “I like to not think of it as shredding. I really try not to. I just try to play things that feel like the song needs that… but I suppose it’s inevitable that that comes out.”
When he explains how he builds solos, it’s the same mindset—less about flexing vocabulary, more about whether the part belongs. He likes the “storyline” arc (slow start, build, peak, conclusion), but he’s careful not to turn it into a rule.
“I think that… that storyline approach… is often a good… It’s an effective way to sort of see a solo. I don’t know that it’s always appropriate… I mean, sometimes… mayhem is what it calls for. For me, it’s more about hearing the part and feeling like… if I’m a listener and I don’t play guitar… so I’m not thinking about scales.
“And what is it that feels like it belongs here? Really? That’s… foundational. I really try to step outside of being a musician and ask myself what kind of… accessorizing to this part could we do? With a guitar that’s gonna… take the whole vision and make it even more… more accurate,” Howe offers.
Then he says the quiet part out loud: for all the reputation built on facility, he’s still chasing restraint. He hears players who can say more with less, and he envies it—plainly, without the performative humility.
“Truth be told, I often really envy guys who are able to do that without all the craziness… I really do envy that. There are just certain guitarists and just musicians in general who can say so much without needing to do all that, and I’m still working on that. I would love to get to a point where I really feel great about big statements made with fewer notes.”
The interview also lands right on the unavoidable 2025 question: AI. Because Distorted Mirror is framed around “man vs machine.” Howe hasn’t used AI to write music, but he’s not dismissing it either. He sounds wary, curious, and practical in the same breath:
“I have not done that. I really haven’t done that. At some point, I’d be curious just to see what that’s about. I don’t necessarily look forward to the world that… we’re heading to now, but I certainly don’t want to be left behind. If you’re going to survive in it, you’d better stay up on what’s happening.”
But the most revealing detour is the one where Howe explains what he’s actually been trying to do with his career: move toward a vocal band, be the rhythm guy, take the short solo, step back. He even tells a story involving The Aristocrats and Guthrie — how he was asked, but turned it down because he was chasing something else with Marigold.
“My ultimate goal is to be in a vocal band,” he reveals. “I had just put Marigold together, and I just got the singer, and we were starting to write when they called me. I was like, ‘I don’t think I’m available for that guys’… I’m trying to pursue something, I’m trying to go the other way…”
Then he delivers the punchline that doubles as a thesis for how he’s perceived versus how he sees himself: “I’ve always wanted to be in a vocal band. Being the guy in the back, play rhythm guitar, have 16 bars for a solo and then go back, it doesn’t work for whatever reason… the universe keeps putting me out front.”
That same “restless” personality shows up when he talks about making albums. He admits he sometimes envies artists who can lock into a lane and repeat it, because it makes everything easier. But when he hears himself echoing his own past, it hits him like a physical reaction.
“I actually envy people. There are artists who put album after album out… and they all kind of sound the same. For me, I can’t; I get almost uncomfortable. It’s almost physically painful when I hear myself doing something that reminds me of the song on my last album, I’m like no no no stop, I’m slapping my wrist.”
And finally, the quote that explains why so much of his playing feels “vocal” even when it’s undeniably technical—because guitar, to him, is secondary. Song is the agenda. Everything else is decoration.
“Composition is everything. Guitar playing is a lot of fun, but it’s a distant second. If they outlawed guitar playing in the world, I would still very much be into music and creating, because it’s the creative process that keeps me inspired. Guitar playing is sprinkles. It’s the icing… it’s fun. But the actual song is everything to me,” Howe reflects.
Even when the conversation turns to touring realities — mid-level artists getting squeezed as Live Nation buys venues — his tone stays matter-of-fact. He talks numbers (300–500-cap rooms, “pretty much sold out” on most nights), then shrugs at the bigger machine behind it.
“The venues, three to five hundred seaters, and we were pretty much sold out with 90% of them. It’s good for me. I’m not a guy that’s doing 1,200 per room. You know the way of the world, the big corporate entities eventually buy up everything, and it usually doesn’t work out for most of us.”
That’s Greg Howe in a nutshell: acknowledging the world as it is — industry, tech, expectations — while quietly insisting on one priority that never changes. Not “guitar first.” Not “shred first.” The song first.
The post GREG HOWE Explains Why Guitar Playing Isn’t The Main Event For Him: “It’s Sprinkles, It’s The Icing, But The Actual Song Is Everything To Me” appeared first on Sonic Perspectives.
After weeks in Europe unleashing one of Testament’s heaviest tour runs, Alex Skolnick is back home, almost over the jet lag and coming down from nights of high-volume catharsis. The decompression is real.
“I was there for a few weeks performing almost every night, and it takes a lot of energy,” he tells Rodrigo Altaf during their conversation. “You get used to it, and then you forget how much energy you’ve put out. And you get home, and you’re just exhausted for a few days.”
That contrast between exhaustion and renewal sits at the heart of Prove You’re Not a Robot, the new album by the Alex Skolnick Trio. It’s a record that insists on human interaction in an era obsessed with automation: musical, cultural, and otherwise. The title is more than a clever nod to login screens.
“Part of the inspiration for the title was the fact that everything is becoming so dependent on technology,” Skolnick explains. “I think there are just a lot of people that are not thinking for themselves and just sort of following podcasters or YouTube channels that are telling them how to think. And by not thinking, you’re behaving more like a robot.”
We’re constantly asked to prove we’re not machines online, but he’s more concerned with how we behave offline. He points to a growing culture of conformity: in politics, in entertainment, in the way audiences let algorithms, pundits, and influencers decide what to think.
For Skolnick, the trio’s music is the opposite of that: improvised, interactive, and unmistakably human: “It is music that does require interaction and being in the same room at the same time,” he says. “We are making this music together, and it’s an expression of being human.”
Artificial intelligence hovers around his world from multiple angles. On Testament’s latest album, Parabellum, the band dives into dystopian tech on the track “Infanticide AI,” born from ideas by Chuck Billy and lyricist Del James. Skolnick notes how naturally that theme echoes the trio’s more understated concerns.
“It’s interesting because even though my trio album doesn’t have AI in the title, you can certainly relate it to that as well,” he says.
But where Parabellum channels futuristic dread through blast beats and razor-edged riffing, Prove You’re Not a Robot answers with nuance, swing, and space. It’s a reminder that resisting the machine doesn’t have to mean shouting over it; it can mean listening more carefully.
The album’s visual world is as intentional as the music. The cover photo is Skolnick’s own black-and-white shot, born from a quiet moment with a “real camera,” not a phone. “This was an accidental image,” he recalls. “I was just going around taking photos, not thinking about what I was taking. And this really felt like it could be an image. And then once I had the title, it seemed to really fit.”
Randy Blythe of Lamb Of God sits at the intersection of these elements: he’s the one who pushed Skolnick into serious photography, then stepped behind the lens for the band portraits. “Randy got me into taking photographs on a real camera,” Skolnick says. All the band photos on the album, “the photos I’m in”, are Blythe’s work, woven together by designer Maddie SJ with Skolnick’s own images. The result feels tactile and human, the opposite of AI-generated gloss.
Photo by D. Randall BlytheOne of the standout tracks, “Armando’s Mood,” nods directly to two unlikely but foundational voices for Skolnick: Chick Corea and Steve Howe.
“Chick Corea is a massive influence,” he says, singling out pieces like “Armando’s Rumba” as essential, if daunting, study material. At the same time, he was revisiting “Mood for a Day” by Yes, rediscovering Howe’s hybrid picking approach.
“I realized a lot of his acoustic parts are done with pick and fingers. And I’ve been doing more of that lately.” Somewhere in that overlap, a strange idea clicked. “Something about the melodies, I thought, oh, this is interesting. It’s almost like you could play ‘Armando’s rumba’ slow at this tempo. And it fits.”
So he fused them, then twisted the meter into 11/8, more John McLaughlin than straight tribute. “It was really like a challenge, an exercise for fun. I wasn’t sure it was something worth putting on the record. But as I worked on it with the guys, it just really started feeling musical and challenging, but also fun. And now it’s this piece that’s very fun to play.”
Their version of Tom Petty’s “Breakdown” began as an emotional reflex. “That one came about on the day we found out he passed away,” Skolnick says. The trio was about to play The Iridium in New York, so they slipped in a partial, faithful version on the spot.
For the new album, he finally gave it the full treatment by breaking it apart. “Of course, I want to make it different from the original,” he explains. The trio leans into 5/4, tipping its hat to “Take Five” by Dave Brubeck and Paul Desmond, reharmonizing Petty’s tune and stretching it into something moodier, more psychedelic, still recognizably “Breakdown” but refracted through a jazz lens. The point isn’t cleverness for its own sake, but honoring songs by refusing to play them on autopilot.
The bittersweet closer “Asking for a Friend” traces back not to a guitar, but a piano, and to a conversation on Skolnick’s own podcast, Moods and Modes, with Pat Metheny. “He had talked to me about writing on piano,” Skolnick says. On this record, he followed that advice almost obsessively. “Almost all of it was written on piano.”
“Asking for a Friend” emerged accidentally, after he misplayed a pop tune he was trying to learn. “I played it wrong. But the wrong version sounded really nice. And it didn’t sound like whatever it was I was trying to learn.”
The title sat in his notes for a while, until the song earned it. Then came the twist: Dave Grohl released a track with the same name. “I recorded this two years ago,” Skolnick says, laughing. “I had it first. But what can I say? I’m honored. I guess that’s a sign. Good minds think alike.”
To bring Prove You’re Not a Robot on the road, the trio is heading for intimate clubs across the US and Canada, a deliberate contrast to the arenas and festivals of Testament. “Improvisational music is more of an intimate listening experience,” he reflects. In Europe, they played elegant rooms like Le Chateau in Paris and Porgy & Bess in Vienna, spaces where people sit, listen, and, if needed, shush.
He enjoys watching metal fans step into that environment. “There’s no reason you can’t have more than one type of musical experience,” Skolnick insists.
Convincing venues, however, can be another story. “They see my name and they think we’re going to show up with a giant drum kit, and I’m going to have walls of Marshalls amps like Yngwie, and they think it’s going to be this shred fest. And they don’t know. It’s an acoustic dynamic. It gets very quiet.”
It’s the same mission as the record: defy assumptions, insist on nuance.
None of this means Skolnick is softening. Parabellum is one of Testament’s most punishing records, shot through with modern extremity and flashes of black metal tension. A major catalyst is new drummer Chris Dovas, whose sensibilities pull from contemporary heavy acts. “He brings a lot of that energy,” Skolnick says. Tracks forged with Eric Peterson tap into a sharper, more modern aggression, while others echo the band’s classic DNA.
He cites the ballad “Meant to Be” as an example of piano-informed writing crossing into his metal life, the main melody and its guitar translation both born at the keys. It’s perhaps the most accessible track on a record otherwise dominated by extremity, and he’s fine with that contrast.
“I like to be able to play in different musical situations and not feel restrained,” Skolnick explains. “One world doesn’t limit the other.”
That, ultimately, is what Prove You’re Not a Robot argues for: in a time of algorithms and crowd-think, keep your edges. Stay curious. Interact in real time. Refuse to move like a machine, even when the world keeps asking you to tick the box.
Prove You’re Not a Robot is out now. Pre-order it here.
Alex Skolnick Trio is:
- Alex Skolnick / Guitar
- Matt Zebroski / Drums
- Nathan Peck / Bass
The post ALEX SKOLNICK Reflects On New ALEX SKOLNICK TRIO Album: “Everything Is Becoming So Dependent On Technology, But Our Music Is An Expression Of Being Human” appeared first on Sonic Perspectives.
After more than three decades without a studio album, Coroner’s Dissonance Theory arrived not as a nostalgic trip but as the culmination of ten years of wrestling with time, identity, and creative fatigue. Guitarist Tommy Vetterli didn’t sugarcoat the long gap during a recent chat with Rodrigo Altaf.
“It took forever for salary reasons, private stuff, like people died and I got a divorce,” he admitted. “My daytime job… I produce bands all the time, and after working a day with a band, I’m not creative anymore in the evening. So I had to find time.”
Work on the record officially began back in 2015, but life pushed it into slow motion. Ideas were collected, abandoned, resurrected, and reshaped. The pressure was deeply internal, rooted in the weight of legacy.
“I thought a lot about how this album should sound,” Tommy said. “Should it be more like the green era or the first few albums? But that doesn’t make any sense. I’m a totally different person now. So I just wanted to do something that is still rooted in the past, but something new.”
That decision meant not chasing the sound of classics like No More Color, Mental Vortex, or Grin, nor pandering to the expectations of nostalgic fans. Instead, the band followed instinct. As Tommy puts it: “With Coroner I can do what I love and what I feel, and that came out.”
The riffs didn’t come from leftover archives — they emerged organically over a decade.
“The opening riff of ‘Renewal’ I wrote in 2015, but I finished this song last in ’25,” he explained. The track, which many listeners initially associated with Kreator due to the title, had no such connection. “Maybe they misled by the title because they had an album or song called ‘Renewal’, but at the end, it’s just a word. I had the choice between ‘What Remains’ or ‘Renewal’, and I just liked ‘Renewal’ better.”
Order the album here
Recording the album followed a traditional, feel-based approach rather than the hyper-edited, quantized methods of modern metal production. “We worked with Pro Tools like everyone does nowadays,” Tommy explains. “But instead of recording one take and editing the hell out of it, we did more takes until the feel was right and kept the editing part to a minimum.”
“Sacrificial Lamb” stands out as one of the record’s most emotionally charged tracks. While some might assume biblical symbolism, the lyrics dig into darker psychological ground. “The lyrics are more about mass murder,” Tommy explained. “He thinks he’s doing something good for mankind, in his opinion. So he sees himself as the sacrificial lamb.”
On “Consequence,” a mechanical effect on Ron Broder’s voice sparked curiosity. “That’s a vocoder… the song is about AI, with all the good things and the bad things coming with it,” Tommy said. “It sounded a bit poppy at first, but in the end it worked.”
Instrumentally, Dissonance Theory demands serious endurance. “Almost everything is heavy to play,” Tommy laughs. “We always made our lives difficult with that.”
Tommy’s musical journey stretches beyond thrash. “When it started, it was Angus Young and Eddie Van Halen,” he remembered. “Then when Yngwie came, that changed everything.” His classical roots — “I played violin when I was a kid” — later blended with jazz influences like Scott Henderson and Allan Holdsworth.
However, Vetterli never cared about genre purity. “Styles were never important for me. For me, it’s just good and bad music. It’s a cliché, but it’s true.”
Despite being hailed by many as pioneers whose complexity influenced bands like Opeth, Meshuggah, Gojira, Obscura, and Tool, Coroner never crossed into mainstream territory. And Tommy is fine with that: “It’s a niche band… it’s for special people,” he says. “It’s not fast food music. You have to listen to it a few times to understand everything.”
Yet the new material has sparked an unexpected surge of enthusiasm. “Everybody’s super motivated at the moment because the reactions for the two singles are overwhelming,” Tommy added. “We want to tour a lot, and if everything works… There might be another album in two or three years.”
Dissonance Theory is the sound of a band refusing to be trapped by their past, even as they honor it. It’s not a return, but a reaffirmation of purpose by musicians who still enjoy making life hard for themselves in the most rewarding way possible. Or as Tommy put it, “We never tried to be Metallica or write a riff like that. We always did what we felt. That hasn’t changed.”
The post TOMMY VETTERLI Talks CORONER’s New Album, Explain Why They Don’t Belong In The Mainstream: “We Are A Niche Band, We Do Not Write Fast Food Music” appeared first on Sonic Perspectives.
On October 26, 2024, Moonspell made history in Portuguese music by performing Opus Diabolicum at Lisbon’s MEO Arena — their first concert accompanied by a full symphony orchestra. Joined by the Lisbon Symphony Orchestra under the direction of Vasco Pearce de Azevedo, the band fused the raw power of dark metal with classical grandeur in a breathtaking performance.
Now, exactly a year later, this monumental experience is revived through Napalm Records, out October 31 in multiple formats. Frontman Fernando Ribeiro reflected on the meaning behind the project, its challenges, and what Opus Diabolicum represents in the band’s legacy.
Pre-order the album here.
When asked what it meant for Moonspell to give their first symphonic concert, Ribeiro admited,
“I really don’t know what to say. I could say it was a dream come true, but we never actually had plans of going that way. I guess the best way to explain it is that we needed time to write the new album, until the muse arrived (and it did) and we also had to manage to stay on the radar of our fans, so we had to balance this reality, and it was good as it opened our options and provided opportunity.”
He continued, “It turned out to be great and a musical dream come true, first and foremost, to listen to our little songs and keyboard arrangements attaining such grandeur with the orchestral arrangement.”
MOONSPELL com Orquestra de LisboaPromoção no Centro Cultural de CascaisDescribing the collaboration with the Lisbon Symphony Orchestra and conductor Vasco Pearce de Azevedo, Ribeiro recalled: “Actually, it was great, and harmony is a very nice word to describe the whole process. There was a huge chemistry between all musicians, and everybody was very focused on this project. For the orchestra, it was a welcoming break to play with a metal band, and they became fans of the music. The maestro (Vasco Pearce de Azevedo) is very rigorous; he has to be, but he’s also famous for embracing different challenges, so everything fell into place.”
“I guess ‘Vampiria’ first because of the final part, which underlined the orchestral and made it more filmic, I guess, giving a new life to the song,” Ribeiro explained when asked which tracks were most transformed. “Then, ‘Everything Invaded’, that comes from an album (The Antidote) which is really not symphonic at all, so it’s a really awesome fit and it’s just a detail, but we finally played Proliferation with a real orchestra, as the song is originally based on Stravinsky’s Rite of Spring sampler.”
“It’s always a gamble, yet we chose ‘Vampiria’ because it is an established song with a new twist, and ‘In Tremor Dei’ was pretty obvious as 1755 is our most ‘orchestral’ album and central to us playing on stage with an orchestra.”
Playing 1755 with an orchestra in their hometown was deeply personal for Ribeiro: “It felt great even though I wanted to play it in Praça do Comércio, the ‘impact zone,’ but I doubt the city hall will ever let us do that. They hate rock and heavy metal, so it seems [Laughs]. But we were lucky enough to play at the biggest arena in Lisbon, and 8000 fans showed up, not only from Portugal but all over the world… we were vindicated.”
On why the project bears the title Opus Diabolicum, Ribeiro noted: “Well, it’s an old song from Moonspell, and its original ‘intro’ was actually an orchestra tuning, so there was a connection there. Also, I like strong classical music like Mussorgsky, Prokofiev, Dies Irae by Verdi, and devilish violinists like Tartini or Paganini. The work of the devil, the power of metal music, and the magnitude of an orchestra, the small mistakes, the hesitations, the happy accidents, the human factor in a world of processed music to sound safe and listenable.”
In a streaming era, Moonspell’s commitment to physical editions remains strong: “The physical formats are for the die-hard fans, and they make up the core of our audience and our survival, and they don’t care about portability, comfort, availability, and such things. They just want to support us and have the full experience, and to have our records in their collection, and that’s more beautiful than digital. Prove me wrong.”
“The concert was described as a ‘passion piece made by friends for friends,’” Ribeiro reflected. “It’s obvious we tap into the community, and they give us back tenfold. More than just doing music, I have a record label for releasing Portuguese and Brazilian Metal bands, I’m also active in books, sessions, and meetings, I have a poetry substack, so yes, it’s a community for me, more than just a job or a business. I’m a very thankful member of the metal and gothic community, and there’s a love story between Moonspell and our fans, that’s for me logic and what matters mostly.”
When comparing Opus Diabolicum to other metal-meets-orchestra efforts, Ribeiro clarified: “Don’t get me wrong. I’m not the kind of guy who says something is bad or out of place because I don’t like it. I leave that to the kids and to the haters. But I have a pair of ears, a sound mind, and years of experience, and I know exactly what I want, at least that.”
“I listened to countless metal bands with orchestra before delving into the mix with Jaime Gomez Arellano. The only band that really impressed me was Septic Flesh; they excel on their orchestral death metal. The rest I listened to, no names named, was too sweet and too focused in letting the orchestra sounding on top. I told Jaime, this is rock and roll, it has to sound a bit dirty, imperfect and with Moonspell in the spotlight. The orchestra would find its way and it did. So what does Opus got that other records don’t? I’d say it has balls and taste. It feels like the real thing.”
“We kept the stage very minimal and elegant because of all the setup with the orchestra members, the mise-en-scène, their attire, and the dresses,” Ribeiro added. “We wanted to mix that with Moonspell’s natural metal exuberance and theatrical flair. By the addition of symphonic power, as you say, the orchestra provided a backtrack to go further with our narratives of Lisbon, vampire love, and madness under the moon.”
Looking ahead, Ribeiro hinted that Opus Diabolicum might not remain a one-off.
“It would be a shame to be a one-off and we’re already negotiating a few others, not many, in Europe and overseas. A full tour is, of course, out of question for a struggling band such as Moonspell, but we hope to play it a few other times before we split up. What have we learnt? Seize opportunities, manage expectations. Nothing more, nothing less.”
After such a grand event, the band’s return to club stages feels grounding: “It feels great and welcoming, as clubs are our natural element. It feels even more intense. Actually, after playing for 8000 people in Lisbon, headlining, we went on tour as special guests of Dark Tranquillity in a club for 600 people in Berlin, and for me it felt great too. Being on stage and keeping the ghosts away it’s inestimable, be it in a sweaty club or in an arena.”
The post FERNANDO RIBEIRO On Why MOONSPELL’s “Opus Diabolicum” Stands Apart: “It Has Balls & Taste, It Feels Like The Real Thing” appeared first on Sonic Perspectives.
After five decades, the original Alice Cooper band has finally reunited to release a full studio album, The Revenge of Alice Cooper. The album was released this past July and serves as the follow-up to their 1973 album, Muscle of Love.
While they have reunited on stage in 2017 for a UK tour, on the live album Live from the Astroturf, and even appeared on various Alice Cooper solo albums, this is the first time fans will hear 14 brand-new tracks of pure diabolical rebellion from Alice Cooper [vocals], Michael Bruce [guitar], Dennis Dunaway [bass], and Neal Smith [drums].
In the spirit of Alice Cooper, it’s a dark, theatrical rock album filled with surreal imagery, double entendres, murder, and mayhem. With titles like “Kill the Flies,” “Up All Night,” “One Night Stand,” and “Crap That Gets in the Way of Your Dreams,” the album captures a perfect snapshot of their signature sound without missing a step. The Revenge of Alice Cooper offers fans a healthy dose of vintage attitude fused with modern muscle, proving the nightmare is far from over. Order The Revenge of Alice Cooper here.
Additionally, KillSmith, Neal‘s band, has released their fifth album, Hard in a Rock Place, this past June, and it has just been added to the 2025 Grammy ballot in the “Best Rock Album” category. Check out the album here.
Correspondent Robert Cavuoto spoke with Neal, who offers an insightful look at their long-awaited reunion album as well as his new KillSmith album, Hard in a Rock Place.
Neal shared how natural it felt for the original members of the Alice Cooper Band to reconnect musically after five decades due to their enduring chemistry and friendship. For this release, Neal revealed that he was hyper-focused on delivering nothing short of exceptional songs with stellar musicianship, to the extent that he wanted them recorded live with all the members, rather than the more modern approach of remote recording. He emphasized that the band’s magic happens when they are all together.
**Neal* proudly explained that he was the originator of the album title and its concept, with its horror theme. He reveals that both the group’s dark humor is a trademark blend of horror, sex, and theatricality, something he calls “The yin and yang of *Alice Cooper, making it both commercial and really terrifying.”
*Neal‘s drumming on this album remains ferocious and powerful as he recounted how he trained daily for a month before recording the 14 songs, equating it to a football player ramping up for the season. Neal also revealed that while touring isn’t likely, anyone who wants to see the original band perform together can see them at the Alice*‘s Christmas Pudding benefit this November.
Switching to his solo career, Smith discussed his long-running KillSmith project, which began in 2005. Their latest release, Hard in a Rock Place, marks their fifth album, which is a heavy, guitar-driven record with touches of metal, punk, and some industrial influences inspired by Rammstein, one of his favorite bands.
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For guitarist Chris Caffery, best known for his work with Savatage and the Trans-Siberian Orchestra, the release of 20 Years of the Music Man means much more than a career milestone. It’s a reflection of perseverance, humor, and the need to keep moving forward despite shifting musical landscapes.
“Well, basically what had happened was I had been releasing a couple of singles, and for me that kind of became sort of easy to do, because I didn’t have to get a whole record done… I recorded a song last year that was called “Do You See What I See Now”, and I decided to contact Mr. Jeff Scott Soto to see if he would share the lead vocals with me, and he did, and I really liked the way this song came out,” he explained.
What began as scattered singles evolved into a full compilation. Caffery admitted that the idea of a retrospective took on momentum of its own: “It started to feel like to me that it was going to have to be a record that was going to need to be done… I just kind of pieced together what I thought was a really neat timeline of the 20 years from when I first really started recording those songs… between 2004 and 2024, that’s where this music was recorded.”
The result is not just a “best-of,” but a sprawling map of his solo journey, including previously unreleased songs, vinyl exclusives, and tracks that slipped through the cracks the first time around. It’s a statement of continuity, that his solo career is not an afterthought to Savatage or Trans-Siberian Orchestra, but a parallel voice he continues to develop.
Among the compilation’s most talked-about songs are the ones that wear frustration on their sleeves. Titles like “Pisses Me Off”, “Sick of This Sht”, and “You’ve Gotta Be Fcking Kidding Me” might suggest pure rage, but Caffery explained that his intent was closer to comedy than fury.
“Here’s the thing, I did ‘You’ve Gotta Be Fcking Kidding Me’ because I had ‘Pisses Me Off’, so I thought it was kind of funny… when Holger said to me, well, you had ‘Sick of This Sht’… I thought the trifecta of those three songs would be pretty fun to have on one CD,” Caffery explained.
He added that the humor was deliberate: “I like to make people laugh, you know, and it’s like if I’m saying that stuff, it’s a way for me to use my sense of humor to control anger, not bring the anger out.”
For Caffery, these songs are snapshots of a time, as relevant for their energy as their satire. This balance between metal intensity and self-deprecating humor reflects his personality onstage with TSO, where he often uses jokes to disarm audiences. Still, he recognizes the risk of updating the formula for today’s climate: “I considered doing a ‘Pisses Me Off’ 2025 version, or something like that, but people are so sensitive now that if I were to write what pissed me off… instead of making people laugh… they would hear what I say now, and they get mad.”
However, not all of Caffery’s music stems from humor or catharsis. “Then She’s Gone”, one of the compilation’s most poignant tracks, was written in a moment of late-night reflection after personal heartbreak: “I was home one night in the band house… and I just kind of threw it all together really fast… I just thought it would be something that would be a really cool stamp to the end of this.”
Even when the vast majority of his fans have followed Caffery primarily for riffs and power, he can channel vulnerability with as much authenticity as ferocity. Although he initially saw the track as a quiet closer, the label insisted it should be released as a single — a choice Caffery initially doubted: “After the video came out and people started hearing the song, I was really blown away with how universal the reaction was. I don’t think I’ve released a song that had as consistent a response from everybody… Everybody seems to associate with that song.”
Of course, no conversation with Chris Caffery would be complete without addressing Savatage‘s return. The band’s performance in Brazil after more than two decades was deeply emotional for him: “You know, it just felt like it was a year ago that we stopped. It was so weird. You know, it was over 20 years since we were in Brazil, but it just felt like it was the day before. I mean, Savatage never broke up. We just had a really long pause.”
For Caffery, the reunion is not revolving around nostalgia, but about the band that shaped him reclaiming their rightful spot in the musical landscape: “Once I left my band with my brother, Savatage was my band with my other brothers. You know, it was like, I mean, it’s my band.”
Fans have long awaited the rumored Savatage upcoming album Curtain Call, but Caffery suggested it might symbolize renewal rather than farewell: “Jon wants to call it Curtain Call, but… I don’t think it’s a final curtain. Right. I think it might be rising again… maybe, fingers crossed, the curtain goes up instead of down. It’s a telling moment, about the resilience of a band whose legacy stretches back decades, one we refuse to let fade into memory.”
While Savatage fuels his heavy metal fire, the Trans-Siberian Orchestra remains a pillar of stability, both financially and artistically. The two projects may differ in style and scale, but for Caffery, they coexist — two sides of the same family carrying Paul O’Neill’s vision forward. Caffery emphasized its enduring mission.
“TSO is not going anywhere… Paul always wanted to keep the music alive. That’s why he had so many different singers and people involved, so that when he would always say, you know, we’re going to pass the torch… TSO is approaching next year, its 30th anniversary… and that music just keeps going to more people every year.”
Between solo work, TSO, and the revival of Savatage, Chris Caffery’s plate is full. Side projects like Spirits of Fire may remain on hold, but his focus is clear: “I wouldn’t mind doing one again if the time or the situation were right… But right now with having TSO and having Savatage, it’s like I’m not really looking for anything, you know, other than stay alive and, you know, take care of my family and my friends and life in general.”
It’s a grounded conclusion for a musician whose career spans from classic heavy metal to arena-filling rock theater. The past two decades prove that Caffery has never stopped creating, and with Savatage’s curtain rising again, his next chapter might be as vital as any that came before.
The post CHRIS CAFFERY Reflects On 20 Years Of Solo Career, SAVATAGE’s Return, And The Balance Between Legacy & Future appeared first on Sonic Perspectives.
When Between The Buried And Me announced The Blue Nowhere, their first album as a four-piece, anticipation ran high. Guitarist Paul Waggoner shouldered new responsibilities in the studio, recording nearly all of the guitar parts himself.
“I took on all the guitar playing duties, although Dan Briggs, the bass player, does some auxiliary guitar stuff, like the 12-string acoustic guitar parts,” Paul explained in a conversation with Rodrigo Altaf. “But for the most part, all the guitar was performed by me in the studio.”
He admitted it wasn’t the playing itself that weighed on him, but the complexity of the music: “It’s more of a mental challenge than anything, just kind of because we do write such sort of intricate music. There are often a lot of layers of guitars. It’s not just like two rhythms and a lead or something. Sometimes there’s more going on, there’s harmony parts, both rhythm guitars are doing different things.”
To keep sane, he relied on meticulous organization. “I make like a spreadsheet basically, of all my guitar parts that I need to record. And, you know, as I record them, as I get them done, I just check them off one line item at a time, and it makes it a little less overwhelming for me.”
Despite this being the band’s longest gap between records, Paul dismissed the idea that timing shaped the music: “To us, it didn’t really feel like it was that long of a gap… the things that influence our writing are mostly just like, you know, just where we’re at musically, and where we’re at in our lives. I think all that stuff is more influential to the final product than just the gap of time itself.”
The first single, “Things We Tell Ourselves In The Dark”, reflected both experimentation and identity: “That was kind of the brainchild of Dan, who’s really a multi-instrumentalist. He’s like an old prog head, true and true. It’s still in spite of it being kind of out of left field for us, it still has that BTBAM identity to it. We knew it would probably be kind of divisive… but that’s cool because it gets people talking.”
Another track, “Absent Thereafter”, had been sitting in his riff vault for years. “I actually wrote that probably in the Automata sessions, so that’s an old one. It was never the right time to use it, but finally, it was like, okay, let’s bust it out. I wanted to write something that was like, well, what if Eddie Van Halen and Brent Mason and Danny Gatton wrote a metal song together? And then of course, once we added everybody’s flair to it, it really came together as a really kind of fun and unique BTBAM song.”
Dynamics are essential to The Blue Nowhere. Paul pointed to the interludes: “I like albums that have peaks and valleys. Because we want our fans to listen to the entire record as one immersive experience, I think it’s important to have those moments where things come down a little bit, especially if it’s before or after something very intense.”
That philosophy is clear on “Slow Paranoia”: “It started out with mostly just kind of the quirky sort of stuff that Dan had written, very prog and very melodic with the waltz. Then Blake added some bits here and there, and then all of a sudden, we had some really heavy moments. Once everybody put their little flair into it, it became something so grandiose and really cool. That song is like a total journey from start to finish.”
Would they ever play the entire album live? Paul said he’d love to: “As artists, as musicians, I would love to do that, because that’s how the album’s intended to be heard. But I think our fans, you know, they want to hear old stuff as well. Maybe later in the touring cycle, it would be cool to do a shorter tour and play the album in full.”
On the minimalist album art, he was happy to keep some mystery. “This album is centered around basically a hotel called The Blue Nowhere. I kind of like the idea that it’s open to interpretation. Even though it’s our own layout, I’m okay not totally knowing what it means. The fact that it can provoke thought from the audience, I think that’s what’s cool about it.”
The record also marks the band’s first release with Inside Out Music. “It made sense for us. They’re at the forefront of the prog world, and they’re also starting to evolve with younger, heavier bands. We help bridge that gap between classic prog and aggressive prog. Some of our favorite bands, like Haken, obviously, we’ve toured with them, Leprous, we’ve toured with them, Dream Theater, we’ve toured with them. They’re sort of icons in the progressive world. So it’s an honor to be on a label with those acts.”
Influence has always been wide-ranging for the band. “We never abandoned any of our influences; we just added to them,” Paul reflected. “There is no formula in heavy music—it’s a blank canvas, you can have all of these influences and be inspired by all these different genres and all these different eras of music. We’re not trying to fit into a box, you know, we want to prove to people that there is no box, like you can truly do musically whatever you want to do, and you can be inspired by a massive breadth of musicians, and you can use that influence and inspiration to create your own sound and create your own thing.”
Looking ahead to the co-headlining tour with Hail The Sun, Paul sounded excited. “We like to tour with unique lineups; we don’t like to tour with the same types of bands all the time. Hopefully we’ll play to some new people, and Hail The Sun guys will play to our fans. Everybody will hopefully reach some new ears and eyes as well.”
And for Canadian fans, he made sure to show love: “Toronto is one of our absolute favorite places to play in the whole world. Toronto has always been good to us, and we’re excited to be there. We love the Danforth, love the area, love the venue. I just love going into Canada.”
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Fifty years ago – 1975 – a band out of Weirton, West Virginia, made waves in the music world. They called themselves Crack the Sky. And they should have been huge. Rolling Stone named their self-titled album the debut album of the year. The article said: “Like the first albums of Steely Dan, 10cc, and The Tubes, Crack the Sky‘s debut introduces a group whose vision of mid-’70s ennui is original, humorous and polished. . .”
And it had legs. In 2015, Rolling Stone later said it was the 47th best Prog album of all time.
Crack the Sky was poppy and proggy and funky–with some weird lyrics that grabbed the imagination. But the album didn’t sell, for a number of reasons. Chief among them: poor distribution by the record company. Crack the Sky became huge in Baltimore and Pittsburgh, where albums reached radio stations and the public. The rest of the country…not so much.
But that didn’t stop Crack the Sky from cranking out albums and doing the occasional live gig. And, perhaps amazingly, fifty years after those events, John Palumbo is still steering the band forward with new material and a loyal fanbase.
In conversation with Mark Boardman, the singer, songwriter, and frontman reflected on the group’s beginnings, their resilience, and what it means to be authentic in an era where tribute bands dominate the live circuit.
Palumbo recalled the formative years when progressive influences shaped their direction.
“We loved the progressive stuff. We loved Yes, and we loved Genesis and King Crimson, and I think that we kind of geared ourselves into more of the progressive rock genre,” he explained. The result was a sound that was “poppy, proggy, funky” with lyrical quirks that caught listeners’ imaginations — though distribution mishaps meant the records didn’t always reach their audience.
The band’s durability, he believes, comes down to creativity and persistence. “We make a lot of records. I always write. And so there’s always a bunch of material to pick from. That’s how we keep it together — it’s just the love of the music and we kind of ignore everything else.” That consistency, coupled with a lineup Palumbo calls the strongest in the band’s history, has kept Crack The Sky vibrant on stage and in the studio.
Among the songs still resonating today, “Ice” and “Sleep” stand out. “When we do them live, fans react to ‘Ice’ with a standing ovation pretty much every night,” Palumbo said. Performing the debut album in full for its 50th anniversary has been a challenge, but also a thrill, with moments of expansion through progressive jamming and new instrumental colors.
The conversation turned philosophical when Palumbo addressed the rise of tribute bands. “It’s kind of like tribute bands drive me crazy. What becomes a tribute band if you’ve only got one original member? You have to advertise it as such. And they’re killing us on the road, because they play a lot cheaper than us.” For him, authenticity matters: “It makes me feel that we’re honest about pretending to be the band. If there were only one or two original guys, no, that would not be Crack The Sky.”
Palumbo also spoke candidly about the mix of autobiography and fantasy in his recent songwriting. While early tracks like “Hold On” and “Surf City” drew on his youthful experiences, others were more allegorical. “’Robots for Ronnie’ could be getting closer and closer to being true now. The actual meaning was parents who would do anything for their child. I ran into some people with an ill child, and they were intent on making his life as normal as possible. That’s where I came up with, you know, we’ll get him a robot. I just took it in a slightly different direction.”
As for who Palumbo would pay to see today, he’s selective. “King Crimson, I would pay to see… ZZ Top, even though one of the guys has passed on…If Elton John came out of retirement, I would go see Elton John because I thought he was just wonderful.” Tribute acts, however, don’t tempt him: “No, no. Doesn’t matter. However, I would go see Steely Dan because they’re not a tribute band, it’s Steely Dan.”
Looking ahead, Palumbo’s focus remains on the future. A new album is in progress, even as the band celebrates its legacy with anniversary performances and a spot on Cruise to the Edge appearance, alongside other progressive rock luminaries. For him, the formula is simple: “Just stay in the present moment and day at a time.”
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Michael Kiske has never been one to mince words, and in this new conversation with Rodrigo Altaf, he offered a candid look at Helloween’s upcoming album Giants & Monsters, the dynamics inside the seven-member lineup, and even his views on the threats facing human creativity.
When asked about the band’s creative flow in 2024 and 2025, Kiske revealed that the writing process started slowly but quickly gained momentum: “When they started to write songs, which was around summer last year or something like that, it usually starts slow. You know, they have, like, first ideas and stuff like that. And I remember that I was recording the song for Avantasia, the song that Toby did, and I really liked it. I thought that was so cool. And then I had one song idea from someone coming in that wasn’t so strong from Helloween, and I was kind of frustrated. So Toby writes the better Helloween songs now. But luckily, like, after a while, there were better songs coming in.”
The abundance of material has given the band confidence: “In the end, we had, like, over 20 great tunes. Actually, the next record is already written, too. And that makes you feel good.”
Looking back on the pressure surrounding the band’s previous self-titled record, Kiske admits that things feel easier this time: “Much easier. Because it’s like when we did the last one, everything was new. … It was much more relaxed now. … This time it was way more relaxed and everything seemed to fall into place very naturally. And I think the album is more organic. … The previous one, I personally thought, was a bit overloaded. This was much easier to listen to.”
This change, he suggests, reflects the current health of the band’s relationships: “And now you have seven very different individuals, and it creates a very interesting, very intense, but very interesting dynamic. … It feels a bit like in the early years again. Different because we’re older, but it has the same positive vibe as we used to have.”
The conversation turned to specific songs. On “A Little Is A Little Too Much”, Kiske acknowledged a distinct influence: “That’s what I said when I was trying to record the verse. Yeah. I think the verse has a bit of a Scorpions. … It sounds a bit like the Scorpions. And that’s why I put this harmony on top of the verse because it made it even more sound like the Scorpions.”
He singled out “Into the Sun” as his personal favorite: “I love that song. It’s my favorite song. … And he was working the lyrics over because he wanted it to be a duet. … He was changing it to the spiritual, which is interesting, how easy that’s possible. … Like the lower love, the animal love, you can lift it to the spiritual love. … I think it’s an amazing tune. It’s my favorite song on the album.”
Other tracks, such as “Under the Moonlight,” surprised even the band with their final impact: “We were not sure. And when the vocals were on there, it was great. … They turned out way better than we thought. And that was exciting.”
With three lead singers — Kiske, Andi Deris, and Kai Hansen — questions about balance inevitably arise. But Kiske insists that the focus remains on what serves the music best.
“We’re trying, but that’s not the key. You always have to look at what the song sounds best. … It’s always about the song. It’s always what works best for the song. … There’s no ego. At least not as far as I noticed. … We are in an age now where that doesn’t matter that much anymore. And this is why this worked. Even with the seven of us. If we had the same egos as we had in the 80s, I don’t think this would work.”
Photo by Mathias BothorLyrical content in Giants & Monsters touches on reincarnation, cosmic unity, and human struggle. Kiske connects this to a shared spiritual outlook among the members: “The spiritual side was always strong in me. … But believe it or not, it’s kind of in everybody in this band. … We see the darkness. It’s not that we make ourselves blind to it, but we believe in good. And we believe that you have to feed that. … And that’s why it sometimes seems almost like it’s a concept album, but it isn’t. There was no talking before. We didn’t make any plans. It just naturally fell into place.”
Kiske did not shy away from addressing the role of technology in today’s music industry, particularly his disdain for artificial intelligence: “Spotify doesn’t give a f*ck. They want to get rid of music completely now. Now they make AI musicians. It’s so ridiculous. … AI is interesting when it comes to making science fiction movies or anything where AI is an interesting tool that helps you to realize ideas. But AI is evil everywhere where it takes away your mind, your soul, and your creativity. I don’t want to read articles about computers. I want to read what humans think.”
For him, the solution lies in resistance: “You should ignore all this AI crap where it shouldn’t belong. AI is cool as a tool, but not to replace the human mind and the human soul, and creativity. … If you don’t use your mind, if you don’t use your productivity, what happens? You degenerate. And you will have millions of zombies out there pretty soon.”
He also reflected on Helloween’s unique place in metal, pointing to their willingness to inject humor into their music as far back as Keeper of the Seven Keys, Part II: “We had comedy aspects to it. Because that was the way we were. … And that was kind of unique, that sense of humor. Nobody had that. … And I think that was part of it.”
At the heart of it, Michael Kiske sounds like a man grateful to still be here, still singing, and still pushing Helloween into new territory. Giants & Monsters comes across as a record made with energy, conviction, and a rare sense of fun. The band that once smuggled humor, heart, and high notes into the world of power metal still carries that same spark, only sharper with age and experience. And with new songs already waiting in the wings, there’s no sense of winding down — only the promise of more to come.
The post MICHAEL KISKE Talks HELLOWEEN’s “Giants & Monsters”, Band Chemistry & The Threat Of AI: “I Want To Read What Humans Think, Not What A Computer Is Bubbling Together” appeared first on Sonic Perspectives.
When Styx took the stage at PNC this past July 20 during the stop of their tour with Don Felder and Kevin Cronin, fans were treated to more than a three-hour marathon of rock nostalgia. They were given a glimpse into the band’s continued evolution, anchored by the release of their latest album, Circling from Above.
Reflecting on the night while chatting with Robert Cavuoto, Lawrence Gowan admitted, “We’ve probably played there at least 12, maybe as many as 16 times, I would say. And every time it’s a memorable night. So many great things have happened for us at that venue. And a couple of weeks ago was just maybe the best of all.”
The heat that evening didn’t spare the band. Gowan described the challenge of playing in jackets during sweltering conditions: “It just looked like I walked through the shower… we kind of have a little competition after a show like that to see who can wring out the most sweat from their shirt!”
Of course, the focus of the conversation was on Circling from Above, an album that Gowan said has resonated in new and surprising ways: “We’re very proud of this record… I don’t know if we’ve ever had this much in the way of the highest percentage of, you know, really enthusiastic response from people as to how much they’re digging the album.”
Balancing the spirit of vintage Styx with modern relevance is no small feat, Gowan acknowledged: “We try to make the record sound as authentically as possible from the era of classic rock, which is roughly the 70s. At the same time, the danger in that is that you can fall into clichés. So instead, we draw from that era, bring it into this era, sing about things that are relevant today, and put some musical twists in there.”
One standout track is King of Love, which Gowan described as a microcosm of the band’s collaborative spirit: “Tommy Shaw had the chorus already, Will [Ivankovich] had that bridge… and I thought, okay, this needs to have the other side of the teeter totter… verses that are low and murky feeling. I’m really proud of how we put that song together.”
Gowan went on to explain that Circling from Above emerged organically rather than from a fixed concept, developing a thematic thread of external conflict between nature and technology alongside an internal struggle for balance. The album’s cinematic ebb and flow, and its light-and-dark contrasts, reflect the collaborative spirit of the band, with each member adding their signature sound.
What drives the band to keep creating new music rather than relying solely on their catalog? For Gowan, the answer is simple: “The lifeblood of the band… is to connect with the live audience as much as possible… but something new coming in and attempting something is like breathing. You just need to take in that oxygen.”
The sentiment carries over to the live experience. As Gowan put it, “At a concert, what you see suddenly is humanity in complete harmony and agreement that we love this music. We love these songs. We love the experience that they’ve given us in our lives. And there’s nothing but joy.”
More than two decades after joining Styx, Gowan remains confident in his place at the helm. Recalling his first performance with the band in Branson, Missouri, he admitted he wasn’t sure how fans would react: “I thought… this is the first time at least the Styx faithful are going to hear a different voice sing this song. I guess we’ll know in about four minutes whether this is going to work. And by the end of the song, it was just like the audience you saw the other night. It was big smiles on their faces.”
That’s the essence of Circling from Above, a record that bridges generations, navigating the complexities of the human experience through the intersecting lenses of technology and nature. It’s classic Styx; bold, melodic, and unapologetically thought-provoking; embracing the band’s past and proving that their story is far from over.
The post LAWRENCE GOWAN Talks STYX New Album, Explains Why The Band Continues To Release New Material: “New Music Keeps The Band’s Lifeblood Flowing” appeared first on Sonic Perspectives.
When guitarist Steve Rothery of Marillion and keyboardist Thorsten Quaeschning of Tangerine Dream first met on the Cruise to the Edge festival in 2014, neither imagined they’d spend the next decade slowly crafting an album together. Yet, after sporadic sessions and a pandemic, the debut album, Gentō, from their collaborative project — called Bioscope — is finally complete.
Thorsten recalls how casually it began: “We met before a Marillion concert in Berlin… maybe think about making some music together without saying it’s an album. Some months later, I had some solo shows in London and Nottingham, and I took the opportunity to record a session in the Marillion studio… Last year in December, we had the kind of crystallized version of what could have been an album, because there was no plan. But after all the years just recording music, it was obvious that this should be an album.”
The addition of drummer Alex Reeves from Elbow sealed the deal. “This was the last part of the album… Now we have, after six years, and less than two months together in one room, an album.”
For Rothery, the project’s spark was instant: “It was obvious, really, from the first few notes that it was like when two worlds collide. There was a really interesting melting pot of ideas… all this music is born out of improvisation, and you can only do that if you feel inspired by what you’re hearing from the other person.”
Quaeschning admits there were creative challenges: “I had to leave Steve enough room for his guitar… Steve’s melodies sometimes fulfill the function of a singer inside the music. That’s not so common for my work, and it was a challenge… Sometimes the music tells you which way it should be treated — not ego, not forcing something on top of it. Just letting it breathe.”
The cinematic feel of Bioscope emerged naturally. Rothery explains: “I was doing some research about the early days of cinema and came across Bioscope… It just felt like the right kind of thing. Once you name a track, it almost tells you what it wants to be. With a track like Kaleidoscope, it takes form — everything coalesces — and eventually it’s alive.”
Pre-order the album here.
Instrumental music, says Quaeschning, is about imagery: “It’s like creating pictures in the listener’s head… the soundtrack of a life situation. None of this was about thinking of a specific movie, but it might lead us to soundtrack work at some point.”
Despite their separate commitments to Marillion and Tangerine Dream, both see Bioscope as an ongoing project.
“There are no reasons to stop at that point,” Quaeschning says. “Steve’s melodies are so unbelievable… This is the first time I’m using the words ‘hook’ and ‘melody’ in a good way in my life.”
Rothery agrees that the collaboration worked because of mutual trust and flexibility: “We did edit some parts and change some parts, but neither of us was at all precious about that. We just wanted to make the best album we could make… We agreed all the time, which is virtually unheard of when you have a creative partnership.”
The album balances immediacy and depth, from the up-tempo “Kaleidoscope” to sprawling pieces like “Vanishing Point” and the title track. Rothery insists there was “no plan” — only a careful ordering of the final sequence to make the listening experience flow.
Looking ahead, the duo will take Bioscope on the road in December with Reeves on drums and guitarist Dave Foster. “I would hope we could do more shows next year,” Rothery says. “Toronto is one of my favorite cities, so I’d love to get back.”
For both musicians, the key to longevity is creating new music rather than becoming a legacy act. As Rothery puts it, “There’s nothing like creating something new… It’s not playing the greatest hits — it’s still creating interesting and valid work.” Quaeschning adds, “The idea is to move on… to avoid turning your band into a musical museum. It’s the goal, but also the risk.”
Check out Rodrigo‘s conversation with Rothery and Quaeschning below, and remember that for more interviews and other daily content, follow us on Facebook and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post MARILLION’s STEVE ROTHERY & TANGERINE DREAM’s THORSTEN QUAESCHNING Talk Debut Album Of Their New Band BIOSCOPE: “There’s Nothing Like Creating Something New… It’s Not Playing The Greatest Hits” appeared first on Sonic Perspectives.
When Mark Zonder talks about A-Z, his band with Ray Alder and a revamped lineup, it’s not with the guarded caution of someone promoting a side project — it’s with the unwavering resolve of a man building something permanent. “It was never a project,” he states. “It was never a one-off.”
Zonder explains in this new interview with Sonic Perspectives‘ Rodrigo Altaf that A-Z is a real band with long-term vision, deep creative chemistry, and a growing catalog of powerful, song-driven material. With their sophomore album just released, Zonder dives into what sets the group apart, from its collaborative nature to the mutual respect that fuels its artistic choices.
“There were changes made, and they obviously were great decisions,” he says. “It worked out extremely well, and I’m very happy.” Following the positive reception of the debut, Zonder knew he needed the right people beside him to evolve the project: Nick Van Dyk, Jimmy Waldo, and longtime collaborator Simone Mularoni, among others. “I needed to surround myself with guys that I could trust, that I love, that I know are mature professionals.”
It’s a sentiment that becomes a recurring motif. Despite the industry’s love of the terms “supergroup” and “project,” Zonder’s vision has always been band-first. “I’ve always been a band guy. You know, I’m not Sting. I can’t go out on my own.”
The second A-Z album, while carrying over the melodic flair and tight songwriting of the first, takes things up a notch in terms of both energy and production value. “It’s a great natural progression,” Zonder explains. “We’re going in a little bit of a heavier direction, a bit more edge to it… Jimmy with the Hammond and that sound… just takes it to another level.”
That maturity also extends to their visual identity. From a zebra on the first album to an alligator on the second, Zonder teases fans with visual cues — A to Z in subtle form. “It’s not an animal thing… the third one’s not going to be an animal. I can almost guarantee there’s no teeth on the next one.”
One thing that hasn’t changed is Zonder’s marketing acumen. “From the very, very, very beginning when I started this whole thing… it was a beer commercial, car commercial, and Cobra Kai. Chorus, hook, hook.” That laser focus on accessibility led to standout singles like “Nothing is Over” and “The Remedy,” both of which showcase big, memorable choruses and a tight runtime, deliberately avoiding the overindulgence common in prog rock.
“There are a few that could’ve been the first single… but in my heart, I just feel that ‘Now I Walk Away’ is the one that really turns the page. That’s the ‘Silent Lucidity’ for this album,” he says. “It’s just not an uptempo rock tune… It’s a power ballad. A 2025 power ballad.”
One of the unsung strengths of the album is its blend of classic rock sensibilities and modern production. While Simone Mularoni adds tasteful shred (“I’m not a shred guy,” Zonder admits), Nick Van Dyk contributes to the heavier rhythmic backbone. “You write the songs in a kind of pop way… four to five minutes. None of this nine-minute whatever.”
Jimmy Waldo’s keyboards add a vintage edge, bringing to mind Deep Purple and John Lord. The end result is a sound that straddles genres and demographics. “We’re one of the few bands, if not the only band on Metal Blade, that can go in more of a mainstream area… We could play with Journey, we could play with Foreigner, we could play with Whitesnake.”
Photo by Stephanie CabralOn the topic of drumming, Zonder is as thoughtful as ever. Known for his work in Fates Warning and his integration of electronic pads, he still seeks balance between expression and function. “I always looked at it as I can express myself sonically… I can have different sounds because I hear things in my head.” But at the end of the day, “You play for the band. You play for the song.”
This philosophy also explains his selective approach to collaborations. When asked about whether he was ever invited to join Dream Theater, Zonder replies candidly: “Even if it was offered to me, I wouldn’t have taken it. I kind of have to love what I’m doing.”
Rounding out the chat is a look back at Zonder’s work with legendary producer Terry Brown during the Fates Warning era, including albums like Parallels and A Pleasant Shade of Grey. With A-Z², it’s clear that Zonder is not only building on a legacy but actively redefining it. His conversation with Rodrigo offers insight into a musician who’s constantly evolving while staying rooted in the timeless power of a great song.
In a world saturated with overlong concept albums and fleeting projects, Mark Zonder is building something deceptively simple but enduring: a proper band with big choruses, undeniable hooks, and enough musicality to engage prog diehards without alienating the casual listener. “This has got to be big,” he says — and he’s making sure of it.
Check out Rodrigo and Zonder‘s conversation below, and remember that for more interviews and other daily content, follow us on Facebook and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post MARK ZONDER On Reinventing His New Band A-Z And The Relentless Pursuit Of The Perfect Hook: “This Was Never A Project, Or A One-Off” appeared first on Sonic Perspectives.
For Eirikur Hauksson, life is good. The Magic Pie‘s new album Maestro — featuring vocals and lyrics by Hauksson — came out just a few days ago. And the group is already planning to produce two additional albums in the not-too-distant future.
It wasn’t always that way. Their fifth album, Fragments of the 5th Element, was released in 2019 to great acclaim. The Pie was planning extensive touring behind the album. But then came COVID-19.
Hauksson admits the band didn’t take advantage of the epidemic to produce new music. The band members basically stayed to themselves, quarantined in body and spirit. The lull lasted five years, until they were able to regroup for Maestro.
Actually, though, band leader/guitarist Kim Stenberg had been hard at work in his basement, experiencing a rush of creativity. By the time Magic Pie got back together, he had an idea for not one, not two, but three albums.
There was a thought of releasing two of them as a double album. But plans changed, and the post-Maestro effort turned into a concept record. That gave the Pie a chance to promote their sixth album and take additional time on the upcoming albums as well.
Maestro is a bit of an anomaly — it starts out with an 18-minute epic about a composer/conductor who rushes to fame…and then suddenly disappears without finishing his greatest work.
Hauksson spoke with Sonic Perspectives’ Mark Boardman about the new album — and whether or not that epic is in any way autobiographical. Join in on the fun and check out their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post EIRIKUR HAUKSSON Says MAGIC PIE Are Stronger Than Ever: “We’re In The Best Place We’ve Ever Been. There’ll Be No Excuses If We Fail” appeared first on Sonic Perspectives.
In the wake of his departure from Dream Theater, legendary drummer Mike Mangini found himself with no shortage of offers. But instead of diving headlong into another high-profile gig, he chose a quieter, more intentional path — one that led him to Monolith.
“I was in such a peaceful place,” Mangini said. “I was able to decline certain things… and when Motley sent me the music that he and Andy wrote and worked on with Gabo… it was a no-brainer.”
That music, as it turns out, didn’t just appeal to Mangini’s ear — it spoke to his experience. A lifetime of orchestral training and immersion in styles ranging from Motown to Latin jazz primed him for Monolith’s unique blend of metal and cultural textures.
“I recognized the three branches of Latin—Afro—Cuban, Brazilian, and Caribbean,” Mangini explained. “The sound of the band was rock metal… but with this other vibe to it.”
That layered approach reflects the band’s conceptual vision, too. Their upcoming album — still untitled and without a firm release date — unfolds as a narrative, with each song representing either a character or a moment in a larger arc.
At its heart is the Star Child — “a character that has absolutely no evil in him,” Motley explained. “We’re going to see how he develops with the situations and all the stuff that goes around him and why he’s so important.”
The songs “Oligarch” and “Mother Martyr” have already offered early glimpses into that world. “Oligarch” may sound political, but it’s part of a fictional tale rather than real-world commentary. “It was written to show and explain the first character of a whole story,” said Motley. “It has nothing to do with real-life politics.”
Mangini emphasized that Monolith keeps a tight conceptual framework. “We have to keep it in the lane,” he said. “We can go too far rhythmically… or conceptually… but we don’t. That’s why the Star Child character keeps it level.”
Creative boundaries, he believes, actually open doors. “It gives us direction. It gives us purpose and it makes it easier to morph music, lyrics, and everything to stay in that zone.”
That intentionality extends to how Monolith is developing their sound behind the scenes. For Mangini, this project marks a rare opportunity to engineer drums to reflect what he hears and feels as a performer.
“My engineering, it was a chance to share my soul and what I wanted to reflect back on the music,” he said. “Not insert, not take over, but reflect what’s there.”
Motley agreed that Mangini’s raw energy comes through loud and clear. “The first time I ever played with him, I thought he wanted to break the drums. How hard he hits — it’s ridiculous.”
That said, Mangini is quick to credit his roots in physical technique. “I engage bigger muscle groups because I was enamored with Bruce Lee,” he said. “That one-inch punch? I wanted that for the drums.”
Despite their stripped-down lineup, Monolith’s music is expansive. “The fact it’s a trio — it’s open,” Mangini said. “Who knows how it can morph live?”
So why not release the album now? The band is watching and waiting.
“We are collecting data,” Motley said. “We’re just waiting for the right moment and the right time to give you more.”
Mangini echoed that strategy. “We have perspective, like a bird’s eye view. We understand the environment we are trying to be a part of… is not the environment that we would like it to be necessarily.”
For now, Monolith is patient. They’re not rushing. They’re marinating. As Mangini put it, “We don’t have to make poor decisions because of desperation. We’re doing it the right way, and it feels comfortable.”
The post MIKE MANGINI & HERNAN RODRIGUEZ Talk Mysterious MONOLITH Concept Album & Crafting A Different Sound For The Drums: “It Was A Chance To Share My Soul, Not Take Over” appeared first on Sonic Perspectives.
After decades spent shaping the sound of one of America’s most iconic rock bands, Don Felder has no illusions about what’s expected of him. “I think it’s a big mistake for any artist to go on stage and play too many new songs,” he admits. “Typically, they’re there because of your history… when they hear them, it takes them back to where they were when they first heard the song and that time and that nostalgia.”
It’s this balancing act—between legacy and creative freedom—that threads through The Vault: 50 Years of Music, his upcoming album due out May 23. “What happened was, I had my recording studio out in Malibu… and when I finally decided, after fire number five, to leave Malibu and move into Los Angeles, I packed up my console, my tape machines, all my tapes, everything, and I just put it in storage,” he recalls.
The process of unearthing that archive — reels, cassettes, DAT tapes, CDs, many of them untouched since the 70s — sparked something. “I heard some really interesting ideas that I had started but never finished,” Felder says. Tracks originally meant for The Eagles, sketched in the era of reel-to-reel, were revived and reshaped. One, originally dubbed “Slide On”, became “Move On”, reimagined with the grace that age can lend to parting ways. “It was a better, graceful way to say to someone you’re breaking up with, ‘move on,’ instead of just ‘slide on.’”
The personal thread runs deep on the album. On “Together Forever”, Felder brought in his daughter Leah to harmonize, turning a rediscovered chord progression into something timeless. “It was a gift,” he says simply.
There are thematic echoes of his past in “A Hollywood Victim”, a track that flirts with the territory of “Hotel California”. “People are set up wanting to come to LA, wanting to have that stardom… and then all of a sudden, it just smacks you in the face,” he explains. “It’s a story about what this girl does when she’s attracted to the lure of the silver screen… and finds out that it’s really a lot harder than you think.”
His perspective turns inward on “Free At Last”, which he describes as “a glorious thing that’s going to happen… you’ll be free of all these physical and emotional and the scars you have on your heart from going through life.” The track was inspired by his devotion to meditation, his reflections on mortality, and a desire to write about “crossing over” without fear.
Not every song is heavy. “Digital World”, another standout, confronts modern dependence on screens—a concern close to home. “When COVID hit, my son was literally sentenced to two years in his bedroom,” Felder says. “That whole generation… got so absorbed in digital occupation that it’s addictive. It really is.”
Felder doesn’t hide his unease with what he calls the “technically perfect” approach to music production today. “You don’t have to have a human play guitar,” he says. “You don’t have to have a human play drum loops. You don’t have to have a human — somebody that sings out of tune, you can fix that… When we made Eagles records, we made the most technical, perfect songs and productions we could. But it was our playing.”
And yes, he still hauls out the double-neck guitar for “Hotel California”. “There’s only one thing that sounds like an electric 12-string guitar,” he laughs. “So there’s no other way that I could ever figure out how to play ‘Hotel California’ without using a 12-string and a six-string.”
Among the album’s more emotional moments is “Blue Skies”, a tribute to Glenn Frey, his longtime bandmate and frequent creative foil. “I reached out several times… just to maybe have a lunch and shake hands, hug each other, say it’s okay. I don’t want anything back,” Felder says. “So after his passing, it really made me regret that we never really had the opportunity to just, you know, hug each other and say, we did some great stuff together.”
Originally written a decade ago, the song was finally completed with help from a string quartet and Elton John’s keyboardist, Kim Bullard, who arranged the score. “At the very end, all the girls in that quartet are singing, ‘I wish you blue skies.’ Really subtle. But that’s really what I wanted to do.”
Felder’s Rolodex remains impressive. Names like David Paich, Steve Lukather, Greg Bissonette, and Todd Sucherman lend their talents across the record. “I know them well enough to be able to cast who should play on what track,” he says. That attention to casting gives the album cohesion, even though some ideas date back to the Heavy Metal era, which he fully re-recorded.
Touring with Styx and Kevin Cronin of REO Speedwagon is next on the docket — more than 40 shows through September, paced carefully to avoid burnout. “I love to walk out on stage and play the songs that I helped write, create, record, produce… The reaction from those people is just so heartwarming,” he says. “I guess I’m just a junkie when it comes to playing music for people.”
As for joining another band? Not likely. “You can either look at that as a loss, or you can look at it as that situation did what it was meant to do… And the one thing that I was really appreciative of after I left The Eagles was that I could do whatever I wanted to do.”
At this stage in his life and career, Felder is not chasing anything. Not hits, not validation, not money. “As a matter of fact, I don’t need to make another dollar as long as I live. But I love to play.”
The post DON FELDER Reflects, Rebuilds, And Refuses To Slow Down: “You Know What There Was Before Pro Tools? Talent, Professionals. They Could Write, Sing, And Play” appeared first on Sonic Perspectives.
As one of the premier symphonic metal acts to explode onto the scene in Europe during the early 2000s, Epica has made their mark through a unique blend of melodic and extreme metal influences, alongside a more socially conscious and real world-based lyrical bent.
Drawing upon a hybrid of classical, Arabic and thrash metal musical stylings and a harsh vocal style that mirrors the death/doom craze of the 90s that arguably paved the way for the symphonic wave that soon followed, band founder and guitarist Mark Jansen basically brought every strong point of his former outfit After Forever in tow to forge the unique yet highly familiar sound that has since become synonymous with the Epica name. But as with any band that has made a substantial impact in the musical realm, the credit is shared with numerous fellow contributors, both past and present.
Of no lesser importance is the highly charismatic and versatile voice of frontwoman Simone Simons, whose powerful mezzo-soprano has been a constant linchpin in Epica’s signature sound since the very beginning. Her entry into the fold would also mark her earliest and, to date, exclusive foray into the metal scene following her time in school, moving from the status of aspiring amateur to seasoned professional in short order.
Per her own recollection, the earliest incarnation of the band amounted to a brief stint in 2002 under the moniker of Sahara Dust that culminated in the 2-song Cry For The Moon demo and a single live performance, after which a joint decision to rebrand under the name of Epica was soon made to reflect the totality of the band’s sound, which carried a sizable Arabic influence but was by no means limited to it.
Frequent comparisons to other big names in the symphonic scene such as Nightwish, Within Temptation, Tristania and Lacuna Coil have dogged Epica throughout their more than 2 decades long career, which Simone herself takes as complementary.
However, she is quick to note her own background in music as being a mixture of numerous influences from pop and rock to classical, resulting in a more nuanced presentation than the operatic bombast frequently associated with Tarja Turunen’s signature sound and the melancholic gothic expression of Cristina Scabbia. When brought into a lofty symphonic context that frequently features conceptual song cycles and lyrically involved anthems about world issues, Epica becomes a band that is undoubtedly accessible to fans of the other aforementioned outfits but would never be mistaken for any one of them.
Over the years, Epica has refined their creative process to account not only for the extensive body of work at their backs but also the necessity of reconciling schedules between musicians who live in different parts of western Europe as their 9th and upcoming studio album Aspiral was brought to life.
Jonathan Smith discusses the creation process with Simone Simons in a recent interview; including the band getting together for 3 songwriting camps to streamline the creative progress, the greater emphasis on more melodic and accessible songs, and the reprisal and conclusion of their conceptual song cycle “A New Age Dawns”, which was last encountered on their 2009 album Design Your Universe and will consist of 3 new chapters.
Simons would also note a few of her favorite songs that made it onto the new album, the broad range of topics covered, and how her travels with the band have given her a balanced perspective on the state of the world. Aspiral is an album that reflects a group of musicians that sees both tragedy and hope in the world around them, and it translates that duality of experience into a sonic journey that will greet the world on April 11, 2025 and remind it of why Epica’s music is as grand as the band’s name suggests.
Join in on the fun and check out their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post SIMONE SIMONS Discusses EPICA’s New Album “Aspiral”: “It Draws Upon Our Aspirations As Humans, Our Inspiration, Renewal And Rebirth” appeared first on Sonic Perspectives.
The one and only L.A. Guns, with Tracii Guns and Phil Lewis, recently released their 15th studio album, Leopard Skin, on April 4th via Cleopatra Records.
Leopard Skin is a scorching testament to the enduring power and chemistry of the band’s core creative duo – guitarist Tracii Guns and vocalist Phil Lewis. Together, they prove they haven’t lost a step after over three decades in the music game, as it’s their fifth studio album in seven years since they reunited. Joined by Johnny Martin on bass, Ace Von Johnson on guitar, and Adam Hamilton on the drums, L.A. Guns sounds as vital and energized as ever.
The album is a triumphant return to form that showcases the gritty spirit that is the hallmark of their sound. With songs “Taste It,” “Lucky Motherfucker,” and “The Grinder,” this album is a relentless onslaught of hard-hitting rock & roll that refuses to compromise or hold anything back. The band’s signature riffage, driving rhythms, and emotionally charged vocals are on full display, with each song delivering its own unique blend of attitude, aggression, and rebellious energy.
Leopard Skin can be ordered here, and tickets for their upcoming tour with Cinderella can be found here.
Correspondent Robert Cavuoto spoke with Tracii about the creative process behind Leopard Skin and his enthusiasm for combining various genres of music, such as R&B influences, funk grooves, and hard rock riffs, to develop diverse songs.
Tracii also shared that one song off the new album has only a 1% chance of being heard live. He also divulged that he was at his peak happiness level during Leopard Skin” development, compared to the eleven songs about misery on their previous album, Black Diamonds.
Tracii shared that if fans want Cocked & Loaded Part 2, they should listen to Missing Peace as they are just not that kind of band, but that’s not to say they won’t have a super high energy, dirty, filthy, sleazy metal record again. He discussed that he and Steve Riley had a lot of bad blood – like you ‘re-a-bad-human-being kind of bad blood so Tracii was not surprised to learn Steve Riley‘s LA Guns had recently disbanded but was surprised that they would even attempt it in the first place.
Join in on the fun and check out their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post TRACII GUNS Discusses L.A. GUNS Recent Album “Leopard Skin”: “We’re Evolving And Defying What People Expect From L.A. GUNS” appeared first on Sonic Perspectives.
With Stygian Waves, the second album from Envy of None, Alex Lifeson and his bandmates— Maiah Wynn, Andy Curran, and Alfio Annibalini — have solidified their creative chemistry. Unlike their self-titled debut, which was more of an exploratory process, the band entered this new phase with a clearer understanding of their individual strengths.
The result is a more cohesive and mature collaboration, blending electronic textures, Middle Eastern influences, and Lifeson’s signature atmospheric guitar work.
In a candid conversation with Sonic Perspectives collaborator Rodrigo Altaf, Alex reflected on his evolving role as a guitarist, preferring subtlety and purpose over flashy solos. While Stygian Waves features moments where his guitar takes center stage, like on “The Story” and “That Was Then”, he emphasizes that solos should serve the song rather than overshadow it.
He also shares how *Maiah’s travels in India helped shape the album’s sonic palette, particularly on the title track, where he even experimented with playing the oud for the first time. Beyond Envy of None, Rodrigo and Alex discussed the guitarist’s extensive collaborations, from working with Marco Minnemann and Porcupine Tree to his ongoing jam project with members of Rheostatics and Barenaked Ladies*.
Though he enjoys live performances, he acknowledges that an Envy of None tour would require significant effort and audience demand. Meanwhile, he continues to find fulfillment in smaller, impromptu musical projects and charitable work, including a possible return of the Grapes Under Pressure fundraiser.
Of course, no conversation with Alex Lifeson would be complete without touching on Rush. He reflects on the band’s keyboard-heavy era, his candid discussion with bassist Geddy Lee during the making of “My Effin’ Life”, and the challenges of bringing their Rush Canadian Golden Ale to international markets, alongside some reflections about the band’s philosophy when touring towards other bands which opened for them.
Whether looking back on his legendary career or pushing forward with new creative ventures, Lifeson remains as passionate and engaged as ever. Watch or listen to their lengthy and detailed conversation below – or read the transcript further down, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
INTERVIEW TRANSCRIPTRodrigo:* Our guest today is Alex Lifeson of Rush, Envy of None, and a many other projects. Alex*, thank you so much for joining us.
Alex: It’s a pleasure to be here!
Rodrigo:* Talking about the new album of Envy of None*, Stygian Waves. I think the first album was more about you guys getting to know each other and learning – figuring out how to work together. Now the collaboration’s a little bit more cohesive and mature, right?
Alex: Yeah, absolutely. That’s exactly what we’ve experienced. I mean, the first project was great. We’re very proud of it. But we were learning, you know, how to work together. And I think with the second record, we know now what the strengths are of each individual, and we’re really starting to mix it all up in this delicious kind of soup.
Rodrigo: Well, I heard you say that you started working on the second album right after the first was released. But yeah, it definitely seems you guys got closer together as a unit this time around.
Alex: I think we really enjoyed the experience of the first record. And once we finished it and released it, and we knew that it was now in other people’s hands, we thought, do we want to keep working? Do we want to continue? And right away, everybody was up for carrying on. So, we kind of dove into the second record very soon after the first one. And it was a great experience working together. We did it the same way, remotely. Which is a very efficient way to work. But I think we got to know each other a little bit better with the second record.
Rodrigo: And, well, that’s probably a coincidence, but Stygian Waves is, of course, a reference to the River Styx. And exactly 50 years ago, Fly By Night came out with the song “By-Tor And The Snow Dog”, which also references the River Styx. Has anyone made that connection yet?
Alex: I haven’t heard it yet. You’re the first. There you go.
Rodrigo: I know the primary intent was for you to add textures, and you didn’t want any shredding or flashy solos. But there are some moments where you shine on the solos, like “The Story or That Was Then”, even “Under The Stars” as well, right?
Alex: Yeah, I sort of stayed away from it because sometimes there’s too much attention paid to the guitar solo. And it’s a platform to be flashy and show what skills you have and all of that stuff. But that’s never been an important part of soloing. For me, the solo has to be an integral part of the song. It has to have some purpose in the song to make the song better, not necessarily as a high point.
So, for example, the solo in “The Story” is a perfectly constructed solo for me because it ramps up. It goes up to a crescendo. And then the most important part of the song is what follows after that solo. When Maya comes back in and then drives the point of the song, that is the high point of the song. And the solo’s job was just to take you to that doorway and then open the door for you.
So I just think that it’s an important part, and it needs to be treated as such when you’re doing it. I’m not a shredder. I don’t care for that. Frankly, I can’t play like that. As I’m getting older, I’m losing a little bit of speed, but it doesn’t bother me. And there are a million other young guitar players who are very happy to show off all the skills that they have.
Rodrigo:* With Andy and Alfio playing guitar and keyboards. How do you guys split the work when it comes to writing and recording? Is there a stem of an idea that comes from you or from Alfio or Andy,* and then you sort of go from there?
Alex: Actually, a lot of the stuff does come from Alf and Andy. Some of it comes from *Maiah. What I love is to take those seeds and then grow them into a big, sturdy tree. That’s my kind of specialty, I think, with Envy of None*. And I’m quite happy. I mean, we all work very, very closely together. We all share everything about the music and the construction and all of that stuff. So it’s a good balance that we have.
Rodrigo:* And there are noticeable influences from Middle Eastern music on at least two songs, “Under the Stars” and the title track. I know that was brought by Maiah* after a trip she did to India, right? Can you tell me about that?
Alex: She took a trip to India where she was chaperoning a group of students. And it was really an important step for her. She was making some changes in her life that were very, very important. And to get out and be very independent and to put yourself in a situation where you’re responsible for other people was really remarkable. She learned a lot, and she did a lot of growing on that trip.
When she came back, she had ideas for Stygian Waves in particular. That song started out as a song called “Wham Bam” in the very early writing title. And we only had one little section. And then it grew into this big thing with lots of different influences. There’s that industrial thing about it. There’s a dancing, this EDM kind of thing. And then there are the Middle Eastern influences.
I played oud on it. I’d never played an oud before. So sitting down and trying to learn to play the instrument was really fun. I love doing stuff like that. So, influences came from all over the place. And there is a little bit of Middle Eastern, but that influence is in a lot of music. I grew up with – my parents were Serbian, so there’s a Turkish influence in many things in the Serbian culture, food, and music. So it’s already deep down inside me. It just takes a little bit to bring it out.
Rodrigo:* If I were to pick a favorite of the album, I think it would be “Handle with Care.” To me, it’s almost like a metaphor for how the three of you are nurturing Maiah*‘s career and providing this platform for her to develop her artistic expression little by little. So you’re kind of helping her take off.
Alex: That is somewhat the case. More in line with the actual song, Andy‘s wife was going through some medical issues, and it was a very delicate time. But *Maiah* turned the lyrics into being much more than one singular thing. And it’s about handling people with care. Maybe people that are sensitive and see things differently, and not just throw people out because you disagree with them or you don’t care. And there’s just too much of that these days.
Rodrigo:* I’m curious, did your connection with Maiah start with this single here with Marco Minnemann*? It’s the first time I’ve heard of her collaborating.
Alex: It’s cool that you bring that up. Actually, when we met *Maiah, it was through a talent contest that Andy was a judge, and we talked about this in the first record. And so we brought Maiah in to work on music together. After I’d heard what she was capable of doing, I used her for that project with Marco Minnemann. I suggested using her to Marco*, and she did an amazing job because that track is very progressive. It’s all over the place, and it’s long. It’s seven or eight minutes long, with a lot of changes. So, she was right in there, and she did an amazing job. But that 19 or 20-year-old to this 28-year-old is a different person. She’s a genius as far as I’m concerned.
Her arrangements are so amazing, but her voice how she carries it, and how confident she is in what she’s looking for in her performance is just remarkable, the amount of growth that she’s had.
Rodrigo: And I love how the cover of the first and also the second one play with “almost symmetry”. Both models look and dress the same, but you can definitely tell the difference, right? It’s almost like you trace a line, and it’s almost symmetrical.
Alex: Yeah, it’s kind of cool to carry on with this imagery that we have. It’s the graphic imagery of the two females, nurses or these girls. And they’re very stylized. They’re very fashion-oriented photographs, but they don’t mean anything. There’s no hidden meaning or anything like that. They’re just really cool graphic images.
And that’s what I love, because people look for something always, like, what does that mean? What does the wind mean? What are the binoculars? Are they looking into the future? It’s a cool picture.
Rodrigo: Exactly, yeah. Leave it at that... *I know you guys discussed live shows, and that would depend on the interest and the reception of the second album. But have you guys considered doing maybe a soft launch or a one-off, maybe at a place like the El Mocambo here in Toronto? I think Andy* is still connected to the venue.
Alex: I mean, it sounds easy, but it’s not. We’re talking about – if we’re gonna do a show, we would do both records. So, it would take two hours of music with some other musicians to do it properly. It’s a big endeavor. It’s a big, expensive endeavor. And I think if this record takes off and we have an audience that would support some shows, then we would do it because we’d love to do it. We love the idea.
But it’s not so easy to just get up and do it. It’s not like you’re grabbing your guitar and going downtown and playing the gig. It takes a lot of work, takes production, putting a show together, all of that stuff.
Rodrigo:* Outside of Rush and Envy of None, you’ve played on hundreds of records, to name a few, like Porcupine Tree, Fu Manchu, and you did songs with Marco Minnemann that we spoke about, and with Rick Emmett* on his album Resolution 9. You must get tons of invitations to collaborate. What’s your criteria to say yes or no to a project?
Alex: Obviously, I want to be interested in the music, but I have very broad requirements. What I really love doing is taking someone else’s music and enhancing it, making it better or different. And so far, with my track record, I’ve been pretty fortunate. Everything that I’ve done is something that no one ever expected. They think it’s a guitar player from Rush, and he’s going to do this or this or this. And I often end up doing something that they just don’t expect at all. And I get a response like, I never would have thought to put a piece of music inside like this, but I can’t not hear it now. This is exactly the way it should be. So I’ve been lucky in that way. And so that is really gratifying for me to do that. And very satisfying as a musician to be able to do stuff like that.
Rodrigo:* I was wondering if Joe Satriani* ever approached you to be part of one of his G3 tours? Did that conversation ever happen? Because that would be cool. You could play the Victor stuff and a few more maybe Rush songs or non-Rush songs.
Alex: I don’t recall getting an invitation directly. But I know Joe. I don’t know him very well, but I know him, and I have enormous respect for him and all the people that he works with. Eric Johnson is a dear friend, and I love his guitar playing. He’s been involved in a lot of these guitar sort of things. It’s not my thing.
Those guys are great players, and they get up and they show their stuff. I’m more interested in being a part of a band or a part of some musical unit and not at the front of it, more in the back. I like to support it. And I think I have musical skills that are valuable and effective that way. As far as Envy of None is concerned, *Maiah is the gem. She is the shining star at the front of Envy of None. The music that we make is very satisfying. It’s really the music that we want to write and record for the other three guys. But it really comes down to Maiah*. She has such an identifiable voice and such a power that she’s developed over these last few years. And we don’t have a problem with that. We support it. We stand for her and support her a thousand percent.
Rodrigo:* I saw you play with the Rheostatics* at a West End Phoenix gig in a brewery not far from where I live. We were in the back, and it was a tiny stage. You had a beard then. Do you remember that? 2019!
Alex: I remember it clearly. They asked me to do a bunch of stuff. And I get together with those guys in jam on a fairly regular basis. Hugh Marsh, the violinist, is just one of my favorite musicians ever. He is brilliant. Absolutely brilliant. We get together. We’ve been doing some stuff on our own, the two of us with violin and guitar.
It’s just a really, really beautiful, amazing music. But the guys from Rheostatics, yeah, I do that. I love to jam. I love to go and do stuff like that just at the last minute. Andy Kim, the Christmas shows, I get to play with all these other musicians and bands. It’s really a lot of fun. I feel like I’m in the community, and I’m a part of it.
No one should ever be afraid of asking me to do something. I really do love it. I’m working on a project now with the guys from the Rheostatics and Kevin from Barenaked Ladies on a Great Lakes documentary. It’s essentially a jam project where we get together and jam. And we have hours and hours and hours of material that we’re now editing. And I’m amazed at how great the stuff is. So there’s always something interesting to do.
Rodrigo: Through your career, you have played some incredible shows to gigantic crowds, one of them being the Rush In Rio, which I had the pleasure to attend. Is there anything you would still like to accomplish in a live setting at this point? Or you’re more interested in a smaller setting with playing with your friends and things like that, right?
Alex: Yeah, that’s everyday kind of stuff. Playing in Rio and throughout South America was really an incredible experience. I feel satisfied that I got to do a lot of great things. The SARS concert, we had half a million people for that SARS concert. I’ve been on some pretty awesome stages, and it’s really great. I did it for 40 years. But that’s not the only thing in life, right? There are other things in life. I’m a consummate musician. I’m a guitarist. I love playing guitar. I play guitar for hours every day. I don’t get bored of it. It’s who I am. So long as I can do that in any kind of form, I feel blessed.
Rodrigo:* One of the coolest things you and Geddy did outside of music was the Rush Beer with Henderson Brewery. How did that idea come about? Are you thinking of selling internationally? I know that Aiden* at Henderson would love to bring it to Brazil, for example. I tried to help him with that a little bit, but it kind of didn’t work out.
Alex: No, it’s so difficult. It started out as just a fun idea. Our merchandiser, Pat McLaughlin, he’d been pushing us to think about doing a beer. Eventually, he said, “I got these guys from Henderson that are interested”. Geddy and I tasted 20 beers, I think, during the pandemic, and we settled on that beer.
And then we did those ads that are really fun. We just do them off the cuff. We don’t rehearse them or anything. We just record these fun things. We did license a brewery in the States, in Minnesota. But it’s been mediocre, the response with them.
And you got to stay on top of it. And every country, every state is doing business with a different entity when it comes to anything to do with alcohol. And certainly, Brazil, they have some of the biggest alcohol or beer companies in the world who own most of the beer companies here. So, it’s tough to get into other markets that are very, very protected because there’s just so much money in booze.
Rodrigo: I know the bureaucracies of Brazil.
Alex: For sure.
Rodrigo:* You’re are also involved in a lot of charities, including the Grapes Under Pressure. I attended the 2018 one, which was awesome. Is there a chance of another edition? I’m friends with Garrett* from the board of Grapes for Humanity.
Alex: We’d love to have another one. Oh, for sure. We had so much fun doing those. But the pandemic messed up a lot of things for all of that kind of stuff. And now it’s been, what, seven years later. Garrett and I always talk about it, and we always keep ourselves open to the idea of doing it. And now, maybe this year, there’s a chance that we might be able to do it now that things have settled down so much.
Rodrigo:* Fingers crossed… Let me talk about Geddy for a minute because during the making of Geddy*‘s book, I know you were interviewed, and there was a cathartic moment where you mentioned to him that you sort of questioned your role in the band when the keyboards were at the forefront. Can you tell me about that dialogue and how it went down?
Alex: I guess we’ve always been very open to keyboards and developing that side of it. And so I don’t know why I felt so, I don’t know, unhappy with it because I really wasn’t. I think those records that we made that were predominantly keyboard records are great records. You know, Hold Your Fire and Power Windows. But I just felt like there was an element of Rush that was getting pushed aside. And that was that core three-piece element. The guitar is a very important instrument. A lot of motion is derived from the guitar in rock music. The keyboards, I always felt were just, you know, just fancy dressing.
And it was becoming more and more that way with those couple of records. And I kept it in, I guess, for the most part, because things did change around with Counterparts; we went back to more of a driving core. So I, you know, obviously in Envy of None, we have lots of keyboards, so it’s not like I hate them or anything. It’s just – I guess it’s the purity of players making those noises rather than an instrument that’s already got the noises in it. But, you know, I got over it. Fair enough.
Rodrigo:* Do you write with keyboards for Envy of None*? Or is it just purely guitar?
Alex: I don’t. I, you know, usually, if it’s an idea that’s coming from Andy and Alf, there will be a keyboard element, you know, but they’re doing some programming with the drum machine and, of course, bass. That’s always very important.
Andy’s going to do the bass thing, which provides a nice, for me, provides a nice base for launching points of developing other ideas that sort of are core elements. Counterpart or are in line with whatever those things are.
Rodrigo:* Let me ask you about the latest Rush release, which is the compilation R-50. A lot of live tracks in there. Some of them were previously unreleased. Who has the key to the Rush* vote? And can we expect more live stuff coming out soon?
Alex: I don’t know. I don’t have that key. I was amazed when I saw some of the stuff that was on there. But, you know, Anthem has the whole catalog. They have everything that we ever did. And I’d forgotten. We’d all forgotten about some of those things. And generally, Rush never recorded anything that we didn’t use on a record when we were in the studio.
But there are things that are floating around and including the first single. Can’t fight it and not fade away as much as we are embarrassed by those recordings. It’s great to have them because it’s part of our history. And that’s what this whole package is. And I think they did a terrific job. They don’t have to ask us permission for anything, but they always do.
They always want approval. They always want to make us happy that we’re not doing anything that we wouldn’t have done on our own. So, they’ve been terrific to deal with over the years. And they’ve knocked this one out of the park, really. And Hugh‘s done an amazing job with the artwork as well.
Rodrigo:* Does Hugh ask for your approval? I speak with him somewhat often via email. He mentioned that you guys exchange emails to talk about the designs and things like that, right? You and Geddy* and him.
Alex: Somewhat, but not a lot. I mean, we leave it up to him. He’s always been there. So it’s a relationship that has been solid for all of these decades. So we have trusted him that he’s going to maintain the integrity of what his design is. It’s his design. So we don’t get in his way. Everything that he does is pretty amazing. We might make a suggestion about a color or something minimal, tiny, tiny thing. But generally, it’s great, everything he does.
Rodrigo:* I’ve interviewed a lot of artists who opened for Rush. Saxon, Mr. Big, Candlebox, Eric Johnson, and Voivod*. All of them were unanimous in saying how kind you guys were to them. I think in a business that’s filled with a lot of assholes, it’s great that you guys chose to be kind to the opening act.
Alex: Well, we were an opening act for a long time. We were treated really well sometimes, and we were treated really horribly other times. And we learned from being treated poorly how not to treat people. And we swore that we would never treat anyone poorly. And maybe that’s a little bit of a Canadian thing, too. We tend to be on the more polite side and caring, and thoughtful.
So you get a new band that’s opening for you, and you leave a card welcoming them to the tour with a bottle of champagne. It just sets the tone for happiness. Everybody then loves to work together and push together.
Rodrigo: My last question is about the acting roles you had on movies like Suck and The Breach. You also did Trailer Park Boys, where you play yourself. How did that start? Is there a chance of you doing more?
Alex: I don’t know exactly where it started. I guess I’m sort of a pretty extroverted, outgoing person. It’s a fascinating realm being in that world of acting. I’m not a professional actor, but I respect the skill of a professional actor because it’s not easy. It’s not easy to memorize lines. It’s not easy to be cool.
And that character and great actors can do that so convincingly. But I’ve always had fun, and they’ve always been more comedic kinds of things. And it’s really cool. The guys from Trailer Park Boys are so much fun to be with. They’re so cool and we’re dear, dear, dear friends. So whenever I do stuff with them, it’s loose and it’s improvised and it’s always really a riot.
Rodrigo: Well, you did that documentary in 1973. How did you get selected for that? I believe it was called “Come on, Children.”
Alex: Yeah, that was in 1971, actually, that we filmed it. Alan King, who was a very well-known director at the time, had made a couple of films, Warrendale and A Married Couple. That was probably his most well-known film. And they were all done in the cinema verite style where you’d call it reality programming where you move in and you film what’s going on in a household and he would document it.
So they wanted to do this movie about 10 kids living on a farm outside Toronto and the kind of things that develop amongst them. They’re all different parts of the city, so very different backgrounds. And it was for 10 weeks. I was one of 350 people that auditioned for it. I just went to the audition and got picked with Jane and Al, who were very good friends of mine too. The three of us got picked from that one audition session.
So, it was no magic. It just happened that we got picked. And then we went to that farm and that one day in the middle, everybody had their parents up to see what was going on. And it was sort of a luncheon, and they wanted to film it at the same time. So that argument that I had with my parents or discussion all came from that experience of making that film.
Rodrigo:* I think right now Charlene is probably calling you to have lunch, so I want to thank you for so many years of great music, and I’ll keep an eye out for the next chapter of Envy Of None*!
Alex: Obrigado!
The post ALEX LIFESON Reflects On RUSH’s Touring Philosophy: “We Were Opening Acts For A While And Were Treated Horribly At Times, And We Swore We Would Never Do That To Anyone” appeared first on Sonic Perspectives.
From Lo-Fi Resistance to The Fringe to McStine + Minnemann – among dozens of other projects and guest appearances – Randy McStine has been making waves in the rock and prog worlds since he was a teenager. Throughout his ever-changing roles as a solo artist, band member, and side man, McStine meets each project with his own innate curiosity, taste, and talent. While not achieving overnight breakthrough success, he has slowly been ascending his own harmony codex staircase while the list of his collaborators grows in depth and reputation.
In this interview, we explore McStine’s three most recent ambitious endeavors: his impressive solo album Mutual Hallucinations,his third collaboration with musician and drummer extraordinaire Marco Minnemann, and his contributions to Steven Wilson’s celebrated new release The Overview.
We go in-depth regarding the latter, including preparations for Wilson’s upcoming tour, for which McStine will be taking the role of guitarist and vocalist. Enjoy this lengthy and detailed conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post RANDY McSTINE Talks Recent Endeavors, Upcoming MCSTINE/MINNEMANN Album & Musical Bond With STEVEN WILSON: “I Sensed We Would Have A Lot In Common, But The Relationship Has Exceeded What I Thought Possible” appeared first on Sonic Perspectives.
For guitarist/composer/producer Simon Mularoni, the 20th anniversary of his joining Italian proggers DGM marks an incredibly busy time. Seven albums. Countless tours to various parts of the globe. Some musical changes of direction. And a rotating cast of musicians, which has made the band name obsolete.
“Yeah, we were originally called DGM after the first initials of three of the founders’ names. But they’ve been gone for a long time. We’ve talked about changing the name, but at this point, that’s what everybody knows us by.”
One of the things Mularoni and company are celebrating this year is the new album Endless. For the first time, the group is venturing into acoustic territory; in fact, Mularoni composed much of the music on an acoustic guitar (the first he ever owned). It’s allowed them to explore different sounds, including violin and flute — with a tip of the hat to influences like Kansas and Jethro Tull, respectively. The result is a modern and vibrant mix of soaring vocals, intricate guitar work, memorable hooks, and emotionally charged instrumental sections that showcase DGM at their career finest.
“We’ve been into the classic progressive rock bands for some time,” Mularoni explains. “We finally got around to showing our influences.” Originally, Endless was supposed to be part of a double album, paired with the 2002 release Life (which was a heavier metal-sounding record). However, the record company thought that there was too much music in one package, especially coming out of Covid-19, so the two were split up. And Endless became a concept album, one considering the ideas of life decisions and alternative paths.
Recently, Simone Mularoni spent some time chatting with Mark Boardman. The two talked about the increased output of the band and how a new musical direction has brought new energy and life to a band celebrating more than two decades in the spotlight.
Watch or listen to the interview below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post SIMONE MULARONI On The Rebirth Of Italian Proggers DGM: “We Were All Bored With The Old Stuff. Now, We’re Completely Refreshed — We’re Having Fun Again” appeared first on Sonic Perspectives.
Adrian Smith and Richie Kotzen are releasing Smith/Kotzen‘s second full-length studio album, Black Light/White Noise, on April 4th via BMG.
Adrian and Richie continue to demonstrate their undeniable musical chemistry on their sophomore album, Black Light / White Noise. The two guitarists, both legends in their own right, pick up right where they left off from their critically acclaimed 2021 debut album and Better Days…and Night EP.
On this latest offering, they serve another captivating set of songs highlighting their masterful guitar work, memorable riffs, and soaring vocals. From the bluesy swagger of the opening track, “Muddy Water,” to the smoking rhythm and blues of “Heavy Weather” to the all-out rockers of “Life Unchained” and “Blindsided,” the duo explores a dynamic range of rock songs coupled with R&B while keeping the musicianship and songwriting organic while operating at an extremely high level.
The guitar phrasing on the album allows space for both musicians to take vocals while also coming together in perfect unison on choruses when the song calls for it. Lyrically, the songs are thoughtful and mature, reflecting the depth of experience between the two musicians. With Black Light / White Noise, Smith and Kotzen further solidify their status as one of the most compelling guitar duos in modern rock, delivering an album that will resonate with fans and impress fellow musicians. It’s a powerful statement from two masters at the peak of their creative powers.
To pre-order Black Light/White Noise, head over here.
Correspondent Robert Cavuoto chatted with the Iron Maiden‘s guitarist about the duo’s second release. Adrian shared that the creative process for Black Light/White Noise was similar to their debut album, though now that he and Richie are more accustomed to each other’s creative ways, things are easier. He explained that they both rely only on their skills, contributing ideas back and forth without a producer and sometimes engaging in a bit of friendly conflict to keep the songs interesting and get the best results.
Smith elaborated on how their combined and varied influences, his melodic hard rock and blues-based playing and Kotzen‘s rhythm and blues with jazz fusion, allow for their distinct qualities to shine. To accent their approach, they decided that there should be minimal stacking of guitars so that each guitarist’s sound could be distinct.
Adrian also talked about his early days in bands growing up, explaining how he started as a singer and guitarist paying his dues singing in pubs and clubs before joining Iron Maiden and how he has always had a passion for singing. His desire to sing is why working with Richie enhances their working dynamic. Over a cup of coffee and tea, Adrian shared with Richie what his all-time favorite Iron Maiden song is, you might be surprised by his answer!
Watch or listen to the interview below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post ADRIAN SMITH Talks SMITH/KOTZEN’s “Black Light/White Noise” Sophomore Album: “We Both Wanted To Create Powerful & Memorable Songs, With The Spirit Of 70s Rock” appeared first on Sonic Perspectives.
Although he’s been hailed as one of modern progressive rock’s geniuses, Steven Wilson aspires to cast a much wider net than any one genre. While Porcupine Tree are perhaps the best known of his many bands and projects, his solo career under his own name has enjoyed an equal recognition throughout eight albums.
In our latest interview with *Wilson, we explore his fascinating new project The Overview, which features two long-form tracks with a sci-fi theme. This video interview includes many details about the writing process, including his collaboration with fellow lyricist Andy Partridge, and the other musicians who helped create the album, including Adam Holzman’s son, Russell Holzman*, on drums.
We also delve into more esoteric questions about the limitless nature of the universe and the possibility of extraterrestrial life, as well as more terrestrial questions like why *Wilson doesn’t take many guitar solos himself anymore, or if he’d ever consider playing at a festival like Cruise to the Edge. We also discuss his recent visit to the Atacama Desert in Chile, his recent remastering work with Pink Floyd, possible collaborations with Ninet Tayeb or Roland Orzabal, and whether Porcupine Tree* is in a state of Closure or Continuation. Join us in this exploration!
Watch or listen to the interview below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
Pre-order The Overview here.
The post STEVEN WILSON Discusses Upcoming Album: “I’m Only Interested In Working With People I Genuinely Like On A Personal & Musical Level, I Don’t Work With A**holes” appeared first on Sonic Perspectives.
More than 40 years at any job would have most mortals contemplating retirement, but for Teutonic thrash metal pioneers Destruction, it’s a milestone that comes with the promise of even more to come. Though arguably a less extreme take on the sub-genre relative to the blackened strides of Sodom and the death metal-tinged ferocity of Kreator, their music has consistently wanted for nothing in the aggression department while carrying a greater affinity for the early 80s speed and traditional metal trappings that helped to birth the style.
Weathering numerous lineup shifts has only served to make this thrash institution stronger and has seen them maintain the same character of sound as they’ve incorporated more modern elements into the equation.
Accompanying their synchronistic relationship with the extreme and traditional sides of the thrash metal coin has been recurring themes of struggle and rebellion that often traverse the stereotypically dark and occult-inspired lyrical pursuits of metal and the real world angst typical to punk rock. In contrast to the violent, war-torn imagery that tends to follow the signature brutality of *Kreator, Destruction* often opts for a more psychological approach to the evil that often accompanies the human experience.
Attendant to this is a musical presentation that, while no less raw and harsh, has a greater propensity for more melodic and restrained moments when push comes to shove. It is ultimately the same high energy style that compels necks as far as the eye can see to be thrown out of alignment, but it also proves a tad more adventurous and varied when compared to their Teutonic contemporaries.
Though absent from the fold for the majority of the 1990s, bassist and lead vocalist Marcel “Schmier” Schirmer has remained the face and de facto leader of *Destruction, especially following the departure of guitarist and co-founder Mike Sifringer in 2021. His leadership in the years since has seen the band expand its ranks to a two-guitar format, an arrangement explored by the fold in the late 80s before Schmier’s exodus and into the 90s, but also one that has been more of an exception over a 40 year period of Destruction primarily sticking to the same power trio format that Sodom* maintained until recently.
2022’s Diabolical would find this fold as explosive as ever with the retained services of drummer Randy Black and the acquisition of Swiss axe-slinger Damir and Argentinean guitarist/producer Martin Furia, all of them maintaining the traditional thrash bona fides of *Destruction* in a studio setting, to speak nothing for the extensive touring that would follow over the next couple years.
Following a grueling schedule that culminated in over 200 live performances with songwriting and demo sessions staggered in between, 2025 brings with it another chapter in *Destruction’s continuing journey via their upcoming 18th studio album Birth Of Malice. Our contributor Jonathan Smith discussed the process of this album’s creation with Schmier in a recent interview; including the changes in the production team that saw guitarist Furia stepping into the producer’s chair, a greater exploitation of the band’s recently minted two-guitar arrangement, and introducing some more melodic and hook-driven elements into a formula that continues to pay homage to Destruction*’s heyday during the mid-80s.
Schmier would also delve into the lyrical themes present in some of Birth Of Malice’s individual songs, including some fiery political critiques and even how his love of Star Trek has influenced how his ideal system of governance would be structured. Though a Sci-Fi themed *Destruction album is not really in the cards for Schmier and the rest of the band, those who end up hearing Birth Of Malice* following its March 7th, 2025 release are in for a thrashing experience that is familiar but also nothing short of otherworldly.
Watch or listen to the interview below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
Pre-order Birth Of Malice here.
The post SCHMIER Explains How Heavy Touring Influenced Raw & Energetic Sound In DESTRUCTION’s New Album: “We Played More Than 200 Shows And Brought That Energy Into The Studio” appeared first on Sonic Perspectives.
Adrian Smith and Richie Kotzen are releasing their second Smith/Kotzen studio album, Black Light / White Noise, on April 4th via BMG.
The duo joined forces in 2021 for their monumental self-titled debut album and then released the Better Days…and Night EP in 2022, comprised of four new studio songs and five powerful live songs. Black Light / White Noise finds them building upon the strong foundation of what they previously established, with contrasting yet complementary playing styles intertwining seamlessly, trading vocals, leads, and infectious riffs.
This album is an electrifying sonic journey with diverse songs from the hard rocking blues opening track, “Muddy Waters,” to the swaggering “Blindsided,” to the soulfully “Heavy Weather,” to the very heavy of “Life Unchained.” All songs highlight the duo’s versatility, effortlessly weaving together elements of blues, hard rock, and R&B. These songs are masterfully crafted, with modern production to create a timeless and fresh sound. Throughout the album, Adrian and Richie push each other to new heights as their dynamic and spontaneous interplay make it seem like the music is being born in the moment.
To pre-order Black Light / White Noise, go here.
Correspondent Robert Cavuoto spoke with Richie as he reflected on the excitement surrounding the release of their new album. He shared how the creative process for Black Light / White Noise was a relaxed, free-flowing experience without any time pressures, which allowed for organic songwriting. Richie highlighted the seamless partnership with Adrian, noting their shared love for classic rock acts such as Bad Company as the foundation for their collaboration. He also shared how they typically write together; despite the rare instance of a remote collaboration, the duo primarily works in person, enjoying the creative process together over coffee and tea.
As for future touring plans for the duo, Richie mentioned that while there are no touring plans in 2025 due to Iron Maiden‘s schedule, he does hope to play together live in 2026. He will undoubtedly schedule a solo tour of the U.S. this year. He closed the interview with personal reflections about the challenges of living through wildfires that ravaged parts of California months ago and how they’ve reshaped his perspective on life, preparedness, and safety.
Watch or listen to the interview below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post RICHIE KOTZEN On SMITH/KOTZEN’s “Black Light/White Noise Album”: “We Are Continuing With The Same Feel And Magic From Our Debut Record” appeared first on Sonic Perspectives.
Any musician with a legacy as rich and expansive as Don Airey’s would understandably want to slow things down after reaching 70. A true keyboard virtuoso, his fingerprints are all over some of rock’s most timeless records,from *Ozzy Osbourne’sBlizzard of Ozz to Deep Purple’s modern era.Having contributed to over 300 albums, Airey’s unmistakable sound has become the backbone of hard rock and heavy metal for nearly five decades. And yet, the man remains as productive as ever, not only being extremely busy with Deep Purple*, but also maintaining a solo career.
While his session and band work are legendary, Airey has also cultivated a remarkable solo career, showcasing his own vision and songwriting. Albums like K2 (1988), A Light in the Sky (2008), All Out (2011), and One of a Kind (2018) have allowed him to explore a diverse range of sounds, blending hard rock, prog, classical, and jazz fusion into a unique musical identity.
Now, after another monumental year with *Deep Purple, Airey is shifting gears to his own creative vision. On March 28, 2025, he will release Pushed to the Edge, a blistering hard rock statement featuring a lineup of elite musicians, including Carl Sentance (Nazareth), Mitchell Emms (The Voice UK), Simon McBride (Deep Purple), Jon Finnigan, and Dave Marks. The legendary keyboardist recently sat down for an interview with Rodrigo Altaf*, where he opened up about his new album, the changing landscape of touring, and why AI will never replace human creativity.
Pushed to the Edge – which can be pre-ordered here – had been in the works for several years, with recording sessions stretching from 2019 to 2023. Yet, when Airey finally got the call that a single was dropping, even he wasn’t prepared. “I kind of forgot about it, you know, handed it in. And the next thing I know, I get a phone call saying, ‘Oh, we’re releasing a single called Tell Me.’ And I said, ‘Oh, what’s that from?’ And they go, ‘Your album, man.’” Laughing at his own absentmindedness, he admitted, “I think I’d better listen to it!”
The album’s writing process, like much of Airey’s work, was a highly collaborative effort. “It’s always been a bit of a band thing. It’s not just me sitting at home at a grand piano, writing songs, you know?” He recalled how certain tracks evolved organically, like “They Keep on Running”, which took on a Spanish vibe by accident. “The bass player, John Finnegan, started playing this kind of Spanish thing, and I said, ‘Oh, that’d be great with the trumpet.’” Another standout track, “March of the Requiem”, was an old idea that transformed once guitarist Simon McBride got involved. “It suddenly sounded like something you’d hear on a Ritchie Blackmore album from 1973. It waslike, ‘Oh, we gotta use this.’”
For many, his name is synonymous with *Deep Purple, where he took on the near-impossible task of replacing the legendary Jon Lord in 2002. Not only did he step into the shoes of one of rock’s most revered keyboardists, but he also helped shape the band’s modern resurgence, contributing his signature virtuosity and classical influences to albums like Rapture of the Deep, Now What?!, and last year’s chart-topping=1, which we reviewed here*.
Airey has now been with *Deep Purple for over two decades — something even he hadn’t fully processed until recently. “That took me aback, actually. Somebody said, ‘You know, in a couple of years, you’ll have been in the band longer than Jon Lord*.’ And I thought, ‘What? No, that can’t be right.’” Originally brought in for just three gigs, he never imagined he’d still be with the band 20 years later. “Well, I joined for three gigs… and here I am.”
He also reflected on how the band was revitalized by Simon McBride stepping in for Steve Morse. “It was like everybody woke up—like Rumpelstiltskin, you know, from their long sleep. And we all started rocking again.” While Morse’s departure was bittersweet, Airey praised McBride’s energy, suggesting it injected a new sense of purpose into the group.
One topic that had him particularly animated was artificial intelligence in music, a development he doesn’t believe will ever match human songwriting. “AI will never write a tune. It can write poetry and paint pictures, but I don’t think it’ll ever write music anybody will want to hear.” He recounted a hilarious experience with an AI-generated *Deep Purple song. “It sounds like Gillan*, and the riffs are all right, but the solos are the funniest thing you’ve ever heard—just a succession of very fast notes with no gaps.”
The conversation also turned to the difficulties of touring post-Brexit, a challenge that many UK-based musicians now face. “Brexit permitting… it’s very difficult now to do what we used to do. You’ve got to have all the carnets and the visas, and it’s so expensive.” Despite these logistical nightmares, he remains hopeful that he can tour for Push to the Edge later this year, eyeing a September start.
Fans of Airey’s work may also be excited to learn that he’s been working on his autobiography—though finishing it has proven difficult. “I’m always writing a book, but it’s always halfway through because my career keeps going on.” He promises that when it does finally come out, it won’t be a heavy, self-serious rock memoir. “It’ll be lighthearted rather than doom and gloom.”
Looking back on his storied career, Airey remains humble and grounded. He fondly recalled playing on Judas Priest’s Painkiller, though he admits, “I played on Painkiller, but you can’t hear me. I think they did a remix, but I’m not sure what they did with it.” And when asked about performing at Ozzy Osbourne’s farewell show, he had a quick response: “No invitation as far as I’ve heard… and I think all the tickets are gone!”
Despite his legendary status, Airey appreciates that he can still live life relatively normally, free from the burdens of overwhelming fame. “It’s nice to have a little bit, you know, but to be so famous you can’t go out anymore—I wouldn’t like that.” He still enjoys popping into his local pub, where, as he put it, “They get me a seat and a drink. They know how old I am.”
With Pushed to the Edge about to hit, a possible tour in the works, and a memoir that might — finally — see completion, Don Airey shows no signs of slowing down. Watch or listen to the complete interview below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post DON AIREY Discuss New Solo Album, Impact Of AI In Music, DEEP PURPLE’s Future & Possible Autobiography: “We Didn’t Expect Our Last Album To Be The Success That It Was” appeared first on Sonic Perspectives.
We can count on one hand the number of bands that released albums of original material for seven decades. Jethro Tull is of course one of them, and judging by their recent activity, they are as far as possible from resting on their laurels.
The Zealot Gene came out in early 2022, while 2023 saw the release of RökFlöte. On March 7th, the band will release a new effort, entitled Curious Ruminant. Consisting of nine tracks varying in length from two and a half minutes to almost seventeen minutes, this is an album of mostly full band music, again in a broadly progressive rock style. Stylistically, it does not deviate from the traditional Tull sound, and the subtle backdrop of acoustic and folk rock serves to remind of the band’s heritage of the 70s.
In a recent conversation with Rodrigo Altaf, *Jethro Tull‘s frontman Ian Anderson* opened up about the album, offering an unvarnished look at his lifelong quest for meaning, and the unpredictable journey of creativity.
“It was a collection of songs, really, from a number of different sources in terms of lyric writing. All the lyrics were written in late May, early June of last year,” he explained, setting the stage for a project that’s more a reflection of his inner life than a traditional concept album. He continued, “And without making it an album of songs where I’m preaching to people or telling them what they should think, I am offering a little bit more of a personal insight into my own feelings and thoughts.”
Anderson‘s writing here is by and large on a more personal level of lyric content than we are used to hearing. For instance, on “Puppet And The Puppet Master” he addresses mutual manipulation, and asks who is pulling the strings in a relationship after all. The title track combines Rene Descartes, Carl Jung and Sigmund Freud, and can be described as a song of cogitation. ‘Dunsinane Hill” is a reimagination of Shakespeare’s Macbeth, and “The Tipu House” is subtitled a song of aspiration in adversity. Overall, this is a more thematically varied effort than the previous two.
Anderson didn’t shy away from discussing the deeper questions that have driven his work over the years. “I have, since I was a young teenager, always been interested in the big questions, questions about religion, about the sense of who we are, why we are here. Are we just an accident of the gathering together of atoms and molecules, and the gradual development of life, and the whole universe is some random explosion of cause and effect? Or is there some more spiritual underlying reasoning that we might want to try to apply, even if there is no definitive clear-cut answer?,” he reflected.
When asked about the title track he elaborates further: “But my own beliefs are a little more esoteric and don’t really require a user manual because I haven’t come to any really firm conclusions. For me, it’s a matter of continuing to learn and investigate and consider the world of possibilities and maybe probabilities, but whilst avoiding the certainties that come with being a religious devotee and entering into the state of ritual worship, which I’m not really ready for, if I ever am.”
“Having said that, I support the Christian church being the one that I was vaguely born into, and I’m an activist within the Christian church in the sense that I raise money every year for the great churches and cathedrals, particularly in the UK, but sometimes elsewhere too, which would never be built in this present day, buildings that are maybe a thousand years old and have an architectural as well as a spiritual magnificence. So I’m engaged in that for a few days every year. I’m a supporter of the Christian church, but I don’t call myself a Christian with a capital C,” he concluded.
When discussing his ongoing work and the unpredictability of inspiration, he remarked, “But who knows? A month from now, six months from now, a year from now, there might be another album.” He notes that his schedule remains busy, saying, “I’m always busy. And, you know, I play on other people’s records quite frequently when they ask me to, you know, give them a little bit of a flutey helping hand and I’m doing that.”
Anderson’s narrative weaves in the serendipitous origins of key tracks, such as the story behind “Drink from the Same Well.” He recalled: “It had a working title of ‘Drink from the Same Well’, applicable to the idea of East and West coming together musically and sharing in something as a musical experience. So it seemed like something very worthwhile to keep in the real world and give people a chance to hear.” He added details about its evolution — from a demo recorded back in 2007 to a revived track discovered by his son — illustrating the serendipitous nature of his creative process.
His candid approach extends to memories of brief collaborations too, touching upon his brief yet memorable interaction with Black Sabbath‘s Tony Iommi: “Tony is a very idiosyncratic guitar player, one who, when I first met him, had a very distinctive style. And it was appealing to me because it was very direct and very it was a very tuneful, hard rock,” he recalled, adding, “We got together and played around for a couple of days in the studio and it wasn’t going to work out for him or for us as a permanent replacement. Tony and I have been good friends, and occasionally we bump into each other, and we exchange Christmas cards every year.”
Looking ahead, Anderson confirms that his touring plans remain focused on the UK and Europe, “But I’m pretty much committed in 2025 to shows in the UK and Europe. And so 2026, we’re just beginning to start to put in some shows in that year.” Even his travel musings carry a familiar wryness: “I mean, I do like the Northeast. I suppose the further west you go, the more you enter cattle country and something a little bit more American. But, you know, from the more traditionally European parts of Canada, I feel always a sense of being in Europe.”
Watch or listen to their informative conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post IAN ANDERSON Talks JETHRO TULL Upcoming Album, Grappling With Life’s Big Questions, & Meeting TONY IOMMI: “He’s A Very Idiosyncratic Guitar Player, With A Very Distinctive Style” appeared first on Sonic Perspectives.
Cradle of Filth‘s upcoming album, The Screaming of the Valkyries, is set to drop on March 21, 2025, via Napalm Records. The record has been described as a succinct summation of the ghosts of Cradle Of Filth‘s past while taking bold new steps into the future. And to know more about what transpired during his creation, contributor Jonathan Smith, sat down with none other than Dani Filth himself, to uncover a myriad of details and know what fans should expect from the album.
In this interview, Dani Filth explained that while they’re continuing to work with longtime producer Scott Atkins: “He’s one of those people that doesn’t stand on – well, to put it this way, he doesn’t mix words, so if it’s shit, he’ll tell you it’s shit, which is great because everybody needs that, maybe Metallica could do with a bit of that and all, but the point of it is he’s very astute, very creative, and he gets the best out of everybody, and we feel comfortable working with him, so obviously, if it’s not broken, don’t try and fix it.”
Discussing the album’s title, Filth revealed that its inspiration comes from the chaos of our modern world. “The Screaming of the Valkyries is influenced by, I don’t know, the political turmoil in the world, in respect of, if you were to hear The Screaming of the Valkyries as a metaphor, or in actuality, it would be, like in Ragnarok, it was the end of days because it would be heaven was being overrun, a last source of protection would be being overrun and destroyed, and that was inspired by the fact that we’re very, even infinitely closer to the midnight hour on the doomsday clock at present” he declared.
This apocalyptic imagery, steeped in myth and reflecting current global tensions, set the tone for an album, which he praised for a raw approach and clarified there’s not a concept record: “We wrote nine very strong, catchy tunes, and when I was presented with some of the embryonic stages of the tracks, most of them immediately struck up a chord with me. So there’s an overarching theme that unites the tracks, but it isn’t a concept record, everybody thinks we’re going to do a conceptual record every time, we haven’t done one for like 15 years, but like King Diamond, everybody thinks that’s our thing.”
When it comes to songwriting and musical style, Filth made it clear that the band is committed to authenticity and looking ahead, and that the new line-up certainly contributed to the album’s final sound: “We’ve got a different lineup, and new blood is good all the way around, it injects a fresh perspective on everything, and as a band, we can sort of self-cannibalize ourselves, because we created this sound, and if we want to hark back to some music that is reminiscent of some of our earlier works, then so be it, but we always have one in the future.”
“When we write music, we don’t think, you know what, by this algorithm, we now need to add to this, you know, mathematical equation, 20% death metal, 30% gothic rock, a little bit new wave of British, we don’t look at it like that, we write music,’ Filth explained. “And if it works, it works. And if it sounds good, it sounds good”
Asked about how he preserves his voice, particularly in a live setting, Filth explained how working with a vocal coach helped him: “Years have just brought wisdom, and went to see a doctor, he’s more of a singing coach, the one time I had a big problem back in 2006. We’d written an album, we were in the studio, and my voice just didn’t work, and they brought in a vocal coach from across from America. They put that thing down your throat, it’s horrible, and he said, ‘I can’t see anything wrong, but I tell you what, here’s a number, because I saw someone not so long ago who was an opera singer, and I sent him along to this person’.”
“I went to see this Jewish guy who just dealt with opera singers, and it turned out I had like tennis elbow off the throat, I just was singing from the wrong part, and I was overwearing it, like turning a car battery over continuously or being in the wrong gear, and he corrected that, and I haven’t looked back since, ” Filth added.
Anywhere else in the interview, Filth doesn’t hold back his criticism of modern streaming platforms either, voicing his deep-seated frustration with platforms that devalue music by underpaying artists: “Spotify, and not only them, they don’t pay people. And I appreciate the fact that from that people could discover you from another band and, you know, whatever, whatever, whatever, whatever. I’ve heard it a million times, but I’m old-school”
“And I know so many people from big bands that since the pandemic have gone, ‘You know what, I’m taking a proper job. So you’ll see me less often, we’ll still be doing albums, but probably once every five years’. And it’s because, music it’s just seen like daylight robbery. If you owned a delicatessen or a fuc**ng supermarket, people can’t allow to just come in and help themselves to free produce, you know, which is what people think they’re entitled to do with music, because it’s a periphery thing and it’s in the air. You can’t physically touch music”
“Speaking for myself, I always saw radio the same way back in the 90s, and so I ended up amassing a personal collection of about 2000 CDs. I’m proud to say that around roughly 10 of them are yours. And I miss the days when there were physical charts,” Dani mused. “But nowadays it’s like a fuc**ng free-for-all all. You figure at some point something’s going to have to give because I do still think there are plenty of people out there who want a metal scene that’s actually intact. Right now, I think the metal scene is probably one of the most, you know, loyal and also one of the most agitated scenes.”
Are there more videos from the album coming soon? Filth gave us the scoop: “We’ve got loads of live shit coming out. ‘To Live Deliciously’, the video for that should be out even next week or the week after. It should have come out two weeks ago with the release of the second single, but unfortunately, it was being filmed in LA at the time of the fires, so it had to evacuate, and it was only actually filmed last week, and I just signed off the edit for it today. And then the third video will come out mid-March”
Watch or listen to Jonathan and Dani‘s conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The Screaming of the Valkyries is available for pre-order now
The post DANI FILTH Talks Songwriting & Inspiration For CRADLE OF FILTH’s New Album, Slams Streaming Services: “I Want CDs, I Want Vinyl – If Bands Aren’t Paid, They’re Not Bands Anymore!” appeared first on Sonic Perspectives.
Hot on the heels of a reunion tour with drummer Mike Portnoy, celebrating the band’s 40th anniversary, Dream Theater‘s new record, Parasomnia, was released on February 7th and was met with critical and fan acclaim.
The band continues the anniversary tour, now with dates in North America, and songs from the new album are elbowing their way onto the setlist. On the first dates, “Midnight Messiah” had its live debut, accompanying “Night Terror”, the first single, which had already been played last year.
Whether or not more songs from Parasomnia will be added to the set, remains to be seen. Whatever the case, the current tour is not to be missed. Fans can expect a dynamic mix of classic and new material, showcasing Dream Theater‘s signature blend of technical mastery and musical storytelling.
The return of the classical lineup of the forefathers of prog metal of course attracted eyes and ears in the metal world. All members, including “The Silent Man” John Myung have been prominently featured in the press, and have done countless interviews to promote the new album and tour.
Sonic Perspectives collaborator Rodrigo Altaf was lucky to have a few minutes to talk to the band’s singer James LaBrie, and together, they discussed the intricacies of putting together the current setlist, the band’s current dynamics, and sense of cohesion after the return of Portnoy, how the shows have been embraced by the fans to the point of moshpits forming during the last encore with “Pull Me Under”, the record profound and thought-provoking lyrical themes, some plans for the immediate future, and more.
Watch or listen to their informative conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post JAMES LABRIE Talks DREAM THEATER’s Newfound Musical Balance & How He Ignores Online Criticism: “You Will Always Have Trolls, And They Always Know Better And Always Do Things Better Than You Can” appeared first on Sonic Perspectives.
With over two decades at the forefront of gothic and alternative metal, Lacuna Coil continues to evolve while staying true to their signature sound. Their upcoming album, Sleepless Empire, set for release on February 14th via Century Media Records, marks their 10th studio effort and delves into the complexities of modern existence.
Exploring themes of fate, resilience, and the struggle for identity in an increasingly digital world, the album presents a cinematic and emotionally charged journey. Having recently revisited their album Comalies in 2022 and re-recorded it to celebrate its 20th anniversary, the band found themselves inspired by their past while forging ahead into new creative territory.
Musically, Sleepless Empire blends *Lacuna Coil’s signature dark atmospheres with a renewed intensity, balancing haunting melodies with heavy, groove-driven riffs. The band describes the record as a reflection of a generation caught between analog and digital realities, searching for meaning in an era of constant connectivity. Each of the 11 tracks serves as a sonic chapter in this exploration, delivering both anthemic moments and introspective depth. With its dynamic range and thought-provoking themes, Sleepless Empire promises to be one of Lacuna Coil*’s most compelling releases to date.
Pre-order Sleepless Empire here.
In this interview, *Lacuna Coil’s frontwoman Cristina Scabbia reflects on how Comalies XX influenced Sleepless Empire*, offering insight into the band’s songwriting process and the deeper meaning behind the album’s themes.
She also discusses *Lacuna Coil’s relentless touring schedule, including their upcoming Latin American run and their massive North American trek with Machine Head, In Flames, and Unearth*. We also found time to discuss the metal scene in Italy and the process of making some of the band’s videos.
Watch or listen to their their spirited and informative chat below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post CRISTINA SCABBIA Talks Creative Inception Of LACUNA COIL’s “Sleepless Empire” Album: “Even When We Are Attracted To The Darker Side Or Music, We Like To Include A Bit Of Hope” appeared first on Sonic Perspectives.
*Bumblefoot will be releasing his newest instrumental album, “Bumblefoot… Returns!”* on January 24th via Bumblefoot Music LLC.
“Bumblefoot… Returns!” is a triumphant album that showcases the immense talent and musical ability of guitarist Ron “Bumblefoot” Thal. From the very first track, “Simon in Space,” it’s clear that *Bumblefoot* has poured his heart and soul into crafting a dynamic, diverse, and captivating sonic experience. The album was created during the pandemic and takes listeners on a thrilling journey through various musical landscapes, from hard-hitting metal riffs to a toe-tapping country tune, all tied together by his signature guitar wizardry.
Standout tracks like the explosive “Planetary Lockdown,” the majestic catchiness of “Cintaku,” and the upbeat country “Moonshine Hootenanny” showcase his range and versatility as a composer and performer.
The depth and groove of his playing give the album a distinctive edge, setting it apart from his previous solo work. There are all-star collaborations, including legendary Queen guitarists Brian May on “Once in Forever” and Steve Vai on “Monstruoso,” which adds an extra layer of excitement to the collection of songs. Throughout the 14-track odyssey, Bumblefoot‘s passion, energy, and mastery of his craft shine through.
Album bundles can be found HERE.
Correspondent Robert Cavuoto had an insightful interview with Bumblefoot as he delved into the creative process behind his long-awaited album. Throughout the discussion, he sheds light on the standout tracks that define him as a guitarist today and his innate ability to convey emotion within an instrumental song.
He shares the intriguing story behind the “Queen-esque” song “Once in a Lifetime,” for which he approached Brian May to contribute a solo. This collaboration adds a layer of rock royalty to the album, serving as a testament to Bumblefoot‘s artistic vision.
Watch or listen to their their spirited and informative chat below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post BUMBLEFOOT Talks Upcoming “Bumblefoot… Returns!” Album: “Doing A Solo Record Is The Opportunity To Show Every Aspect Of Who You Are” appeared first on Sonic Perspectives.
For over four decades, Sacramento hard-rockers Tesla – Frank Hannon [guitar], Brian Wheat [bass], Jeff Keith [vocals], Steve Brown [drums], and Dave Rude [guitar] – have been thrilling fans with their electrifying live performances while cranking out solid music filled with guitar-driven anthems.
On November 29, 2024, the band released a new EP, “All About Love,” that features four distinct variations of the title track “All About Love” – an electric version, an acoustic rendition, a hybrid mix, and a captivating live performance. Jeff‘s heartfelt lyrics are a message of hope to the world to take care of each other and share the love, a time-honored Tesla songwriting tradition. On the EP is also a classically influenced acoustic guitar piece by Frank titled “From the Heart” and a live cover of the James Gang‘s song “Walk Away.”
*Tesla*’s longevity is a testament to their incredible musicianship, songwriting, and the enduring appeal of their classic sound. Together, they continue to cement their status as one of America’s most influential and beloved hard rock bands.
The “All About Love” EP can be purchased HERE and tickets for the “Keepin’ It Real” Tour 2025 are available AT THIS LOCATION.
Correspondent Robert Cavuoto had an insightful interview with Frank. In it, Frank discusses how “All About Love” is a poignant message of hope and love that the band felt compelled to share. He also explains the band’s philosophy of releasing individual songs while the passion and energy are fresh, allowing them to immediately play live rather than holding out for a 10-track album release.
Reminiscing about the band’s beginnings, Frank painted a vivid picture of their tireless dedication, honing their craft in small clubs and relentlessly pushing themselves to write original songs that could stand up among the popular Top 40 hits they covered. He also hints at an exciting upcoming project – a video series offering an intimate look at his cherished guitar collection- and shares a look at his first guitar, which he purchased from cutting lawns.
Watch or listen to their their spirited and informative chat below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post TESLA’s Guitarist FRANK HANNON Talks “All About Love” EP: ‘We Are Living In The Moment And Releasing Fresh Songs’ appeared first on Sonic Perspectives.
In the world of instrumental progressive rock and metal, few artists manage to strike a balance between technical proficiency and emotional resonance quite like Rod Rodrigues. Born and raised in Brazil and now based in Canada, Rodrigues has steadily built a reputation as a guitarist, composer, and educator who brings a distinctive voice to the genre. His latest release, *“Tales of a Changing Life – Part 2,“ is a stunning follow-up to his 2022 EP “Tales of a Changing Life – Part 1,“* and a testament to his evolution as a musician.
Featuring seven well-crafted tracks, this album not only highlights his virtuosic guitar work but also explores broader themes of transformation and personal growth. Rodrigues’ ability to fuse intricate melodies with experimental structures sets him apart in the progressive rock and jazz fusion spheres. “Tales of a Changing Life – Part 2” is a sonic journey that showcases his compositional depth, as evidenced by standout tracks like “Inukshuk” and “East Coast Memories.”
The former is a collaborative powerhouse featuring Angel Vivaldi, Heitor Tenorio, Orlan Charles, and legendary drummer John Macaluso. This track epitomizes Rodrigues’ skill in orchestrating dynamic interplay between musicians, resulting in a layered, immersive soundscape. The latter, with its striking balance and high-resolution production, reveals the emotional core of Rodrigues’ music, blending storytelling with instrumental virtuosity.
Order “Tales of a Changing Life – Part 2,“ HERE.
“Tales of a Changing Life – Part 2” is a masterclass in modern progressive music production, with mixing by Renato Osório and mastering by Kris Crummett, known for his work with Nick Johnston and Sleeping With Sirens. Tracks like “On The Road” add a personal touch, celebrating Rodrigues’ Brazilian heritage through country-inspired guitar stylings while paying tribute to his father, a taxi driver. This blend of cultural nuance and genre innovation speaks to Rodrigues’ ability to connect with listeners on multiple levels, making his music as accessible as it is intricate.
In this detailed interview, conducted by Rodrigo Altaf, we delve into the creative process behind “Tales of a Changing Life – Part 2,” uncovering the stories and inspirations that shaped the album. Rodrigues reflects on his journey as a musician, the transformative experiences that influenced this release, and the remarkable collaborations that brought his vision to life.
Watch or listen to their their spirited and informative chat below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post Guitarist ROD RODRIGUES Reflects On His Recent Album And His Body Of Work: “I Make Music To Touch People’s Hearts” appeared first on Sonic Perspectives.
John Macaluso is no stranger to the pages of Sonic Perspectives: we spoke with him previously when two albums he was a part of were released: “War of the Worlds” Parts I and II, from Michael Romeo. Now, with the release of his first instructional book, “Linear Rock Drumming – United Sounds of Separation”, available through Hudson Music, he’s ready to share his insights with us once again, offering a deep dive into the technique that he helped popularize.
“Linear Rock Drumming – United Sounds of Separation” is more than just a method book; it’s a testament to Macaluso’s innovative approach to the drum kit. Built around the concept of linear drumming — a style that emphasizes playing individual notes in sequence rather than overlapping— it introduces readers to a fresh perspective on rhythm that’s adaptable to countless musical scenarios. From intriguing ideas like “sonic linear” and “spaghetti arm” to complex techniques such as odd-time fills and double bass patterns, Macaluso provides drummers with practical tools to elevate their creativity and precision. His book also features a foreword by rock drumming legend Joe Franco, a former teacher of Macaluso, underscoring the importance of these techniques in rock and progressive music.
Order “Linear Rock Drumming – United Sounds of Separation” HERE.
Throughout this interview, Macaluso opens up about the inspiration behind the book, explaining how his experiences with legendary artists shaped his approach to drumming education. He discusses the importance of integrating creativity with technical proficiency, offering advice on how drummers can make their playing stand out. His unique terminology — “pizza snare,” “mirror beats,” and “linear triplets” — is as memorable as it is instructive, providing drummers with useful mental images that reinforce the concepts he explores in depth.
With Macaluso’s new book and his passion for both playing and teaching, “Linear Rock Drumming – United Sounds of Separation” promises to be an essential resource for drummers eager to expand their skills in contemporary progressive rock. In this interview, Rodrigo Altaf brings out Macaluso‘s insights on drumming, life in Italy, upcoming shows, and much more.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post JOHN MACALUSO Discusses His New Drumming Book: “Linear Drumming Is Like Walking A Tightrope With No Net” appeared first on Sonic Perspectives.
When contemplating the historic tipping point where traditional heavy metal gave way to its
more extreme offshoots, one band that repeatedly comes up is Teutonic thrash metal stalwarts
Sodom.
Among the earliest and most consequential bands to arise from Germany in the early
80s, they are often credited among the likes of Venom, Hellhammer, and fellow travelers
Kreator in pioneering the black metal subgenre. But even more significant than their
contributions to the darker side of metal’s stylistic evolution, Sodom’s tale is one of
steadfastness to the principle of metal being an art unto itself, and have always placed a greater
priority in staying true to the core fans of the genre than in seizing any temporary and often
fleeting opportunities at greater mass appeal.
At the center of it all is bassist, lead vocalist, and lone band founder Thomas “Angelripper”
Such, who came from humble roots as a coal miner and has since proven one of the most
tenacious and stoic helmsmen of the metal realm throughout the 1980s and beyond. Among his
many musical influences, that of Lemmy Kilmister proves the most fitting, as Such’s working
class background and commitment to sticking to his stylistic roots have often caused fans and
critics alike refer to Sodom as the Motörhead of German thrash metal.
Yet as a vocalist, Tom’s highly raw and forbidding style can be seen more as the next logical step from that of Kilmister and Cronos of Venom, with some even pointing to it as an early indicator of where pioneering death metal vocalists Jeff Becerra of Possessed and Death’s Chuck Schuldiner would go during the mid to late 80s.
When combined with the fast and furious drumming of co-founder Chris Witchhunter and the
acquisition of guitarist Frank Blackfire in the mid-80s, Angelripper’s sepulchral screams and
distorted bass work would take the second half of the 1980s by storm. The iconic trifecta of
releases in the EP “Expurse Of Sodomy,” 1987 LP “Persecution Mania” and arguably their most
revered release in 1989’s “Agent Orange” set a standard in pure aggression that has seldom been
rivaled since and could stand alone as the proud legacy of any thrash metal band.
Yet with Blackfire’s departure and the more hard rock-infused 1990 release “Better Off Dead,” there was still darker territory to be explored, and at metal’s darkest hour circa 1992, Sodom would up the brutality factor further with the muscle-infused explosion of sound dubbed “Tapping The Vein.” Though itself a stylistic continuation of the driving thrash style that preceded it, the input of newly recruited guitarist Andy Brings and the desire of all involved to push the envelope
further yielded a result that some might qualify as being on the line where thrash metal ends
and death metal begins and proved to be one of the most consequential thrash albums to hit
stores in a time when the style had become far less fashionable.
Despite continual success in Europe and other parts of the world in the 90s up until the
present, “Tapping The Vein” has stood as the lone album not to be reissued following its initial
release; a sad eventuality that is now due to be remedied.
Pre-order HERE.
Sonic Perspectives associated Jonathan Smith was able to catch up with Sodom helmsman Tom Angelripper himself to discuss the circumstances surrounding this forgotten diamond in the band’s extensive catalog, including the pressure from their label to adopt a more melodic and commercial sound, the subtle yet noticeable death metal influences that were incorporated into his vocal performance, and the subsequent touring on the album that also marked the final chapter in Chris Witchhunter’s tenure with the band.
Other topics of discussion would include several of Tom’s compatriots in the European metal scene, including fellow Teutonic pioneering outfits Kreator, Destruction, and Tankard, as well as a few of the newer bands making waves at present. Though Tom himself also noted his desire for a short break from all the touring and studio work, with a new studio album in the works and 4 versions of this iconic early 90s slab of thrash slated for release on November 15th, the road for this thrash metal staple shows zero signs of slowing down.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post TOM ANGELRIPPER Discusses Re-Issue Of “Tapping The Vein” And Sticking To Their Core Sound: “We Didn’t Want To Become More Commercial, We Wanted To Make A SODOM Album” appeared first on Sonic Perspectives.
Devin Townsend’s musical journey has been nothing short of extraordinary. As one of the most versatile artists in modern music, he has built a career on defying expectations. From the ferocious intensity of Strapping Young Lad to the sweeping, cinematic soundscapes of the Devin Townsend Project, and the atmospheric, genre-bending experiment that is Casualties of Cool, Devin has never been one to settle into a single style. Over almost 30 studio albums, his solo career has become a masterclass in evolution, with each project pushing the boundaries of progressive music.
His story began in 1993 when he was discovered by a record label at just 21 years old. Impressed by his talent, they asked him to perform lead vocals on “Sex & Religion,” the fourth studio album from guitar virtuoso Steve Vai. This high-profile collaboration gave Devin his first major break, and it wasn’t long before his own creative vision took center stage. The success that followed set him on a path of relentless experimentation and musical exploration, resulting in a body of work that is as unpredictable as it is acclaimed.
Now, with his latest album “PowerNerd,” Devin embarks on yet another bold new chapter. Drawing inspiration from his early love of vintage rock, the album marks a shift toward a more direct and raw sound. Written in just 11 days, “PowerNerd” channels Townsend’s signature intensity but with a renewed focus on immediacy and simplicity. Tracks like “Knuckledragger” and the title track are high-speed blasts of energy, layered with his trademark ‘wall of sound’ production. At the same time, songs like “Dreams of Light” and “Falling Apart” reveal the album’s more introspective, emotional side.
Though “PowerNerd” was conceived as a straightforward, fun rock album, it evolved into something much deeper as Devin worked through his personal experiences of grief and loss. The emotional weight of those experiences permeates the record, creating a striking contrast between its raw musical energy and its more reflective lyrical content. From the soaring hooks to the vulnerable moments, “PowerNerd” captures a journey of strength, healing, and transformation.
In an exclusive interview with our collaborator Rodrigo Altaf, Devin opens up about the making of “PowerNerd,” the challenges of balancing spontaneity with emotional depth, and the next phase of his creative odyssey. With “PowerNerd,” as the opening statement in a new trilogy of records, Townsend proves once again that his creative boundaries are limitless.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post DEVIN TOWNSEND Reflects On His Inspiration And Creative Process: “When I’m Writing Music, It Comes From A Very Personal Place, And As Authentic As I Can Be” appeared first on Sonic Perspectives.
Joe Deninzon has got to be one of the busiest guys in rock music. For over a year, he’s been the violinist for the legendary band Kansas — which is in the midst of an extensive 50th-anniversary tour.
But Joe’s other focus is his group Stratospheerius… which melds rock, jazz, classical, and a bit of anything else. Stratospheerius has a new album which came out on October 11 (check out our review HERE).
Their new album is called “Impostor!” — with an exclamation mark. And it’s the culmination of six years of work. The pandemic threw a block in the timing. Then Deninzon produced the live Stratospheerius album, “Behind the Curtain (Live at Progstock)”. He and drummer Jason Gianni had to learn the ins and outs of video production for the DVD of that one. But the main thing that held up the release: the group wanted it done the right way.
Recently, Deninzon and Gianni talked with Mark Boardman about the new album, what it’s like to experience newfound success in middle age, impostor syndrome, and the challenges of scheduling live gigs amid all their other commitments. Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post JOE DENINZON & JASON GIANNI On STRATOSPHEERIUS Recent Album “Impostor!”: “We Are Lucky To Be In A Band Where Everyone Goes Above And Beyond” appeared first on Sonic Perspectives.
Sabaton is wrapping up another successful tour in support of Judas Priest in North America and prepared a great gift for fans around the world. Their concert film entitled “Sabaton – The Tour To End All Tours” will be screened in 500 North American cinemas for two nights only — October 30 and October 31. The film was recorded at the iconic Ziggo Dome in Amsterdam, where 16,000 fans gathered to watch the band during their 2023 European tour. The production is as big as it gets for Sabaton and showcases their artillery in full effect.
Known for its powerful anthems centered around historical themes, particularly war, and heroism, Sabaton blends epic storytelling with a distinctive sound that combines aggressive riffs, symphonic elements, and commanding vocals. Their lyrics often explore actual battles, military leaders, and acts of bravery from various conflicts throughout history, which earned them a dedicated fanbase. Their live performances feature military imagery and pyrotechnics, and their touring schedule is as hectic as it comes – one could get tired just by looking at their tour itinerary on a piece of paper!
Frontman Joakim Brodén made a name for himself as the voice of Sabaton, but his success as a singer was almost a happy accident. He started his career as a bass player and keyboardist until there was nobody to utter the lyrics on stage and he decided to go for it. From there on, he developed his stage presence, and his voice – at a time when operatic singing was the norm for metal bands – and became one of the trademarks of the band. His distinctive style has now influenced new singers, and yet he remains quite humble about it.
Sonic Perspectives collaborator Rodrigo Altaf spoke with Joakim about the upcoming screening of the band’s concert in cinemas, the tour with Judas Priest, plans for the future, and much more. Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post JOAKIM BRODÉN Talks SABATON’s Concert Film: “We Wanted To Show The World The Biggest Production We Ever Had On Tour” appeared first on Sonic Perspectives.
Daniel Cavanagh’s new band Weather Systems is essentially born out of the ashes of his beloved previous band Anathema. Throughout their career spanning the decades, Anathema grew a community of dedicated fans as their sound evolved. Although their reach grew with each subsequent album, when the pandemic hit in 2020, the stress of various factors proved too much and the band broke up, even though Daniel had already been writing material for their next album.
As part of his process of grieving the loss of his band, for which he was the primary songwriter, Daniel got back to working on that material and ultimately put a new band together to realize it more fully, including Anathema drummer Daniel Cardoso.
In this brand new interview, conducted days after the release of the Weather Systems debut album (check our review here), Sonic Perspectives correspondent Scott Medina talked at length with Daniel about the new material, his process over the past four years, his relations with other members of Anathema, and where Weather Systems will be going from here.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post DANNY CAVANAGH Talks New Band WEATHER SYSTEM, New Album & Relationship With Former Colleagues: “I Love The ANATHEMA Guys Very Much And Miss Them” appeared first on Sonic Perspectives.
Michael Schenker is about to unleash his newest album, “My Years with UFO (50th Anniversary Celebration 1972-1978),” on September 20th via earMUSIC.
After 50 years, Michael is still dazzling fans with his fluid-like playing and bluesy vibrato runs. “For My Years with UFO,” Michael traversed through space and time to revisit classic UFO songs he wrote while with the band. To help capture the spirit of these UFO classics, he enlisted some heavy weigh musicians including Slash and Axl Rose [Guns ‘N Roses], Joel Hoekstra [Whitesnake], Roger Glover [Deep Purple], Kai Hansen [Helloween], Erik Grönwall [ex-Skid Row], Joey Tempest and John Norum [Europe], Biff Byford [Saxon], Jeff Scott Soto, Joe Lynn Turner [Rainbow], Carmine Appice [Vanilla Fudge, Cactus], Dee Snider [Twisted Sister] and Stephen Pearcy [RATT].
With their help, Michael carefully curated a collection of eleven UFO songs to recapture UFO‘s signature hard-hitting and high-energy sound. These tracks represent the absolute best of UFO‘s extensive musical catalog, including staples like the pulsing, adrenaline-fueled “Doctor Doctor,” the epic, metal opus “Rock Bottom,” the anthemic “Lights Out,” and the swaggering, riff-heavy “Too Hot to Handle.” My Years with UFO offers longtime and new fans a chance to experience these classic tunes in a fresh, revitalized form.
To pre-order “My Years with UFO (50th Anniversary Celebration 1972-1978)”, go HERE.
Correspondent Robert Cavuoto sat down with Schenker to delve into his captivating musical journey with UFO, the band he penned these beloved songs for, during his formative years as a young musician. In this interview, they explored the creative process behind selecting talented musicians who would breathe life into these timeless tracks while honoring their spirit and energy. Most excitingly, Michael revealed that he is planning an extensive world tour in 2025, in which he plans to perform some of these UFO songs.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post MICHAEL SCHENKER Reflects About New Album, “My Years with UFO”: “It’s An Opportunity To Re-educate Fans And Educate Newcomers” appeared first on Sonic Perspectives.
Tony Levin, the legendary bassist known for his work with Peter Gabriel and King Crimson, is set to release his seventh solo album, “Bringing It Down to the Bass”, on September 13 via Flatiron Recordings. This highly anticipated release marks his first solo effort since 2007 and promises a unique blend of instrumental prowess, with occasional vocals and spoken word. Check out our review of the album HERE.
“Bringing It Down to the Bass” will be available in a variety of formats, including double vinyl, CD, Blu-ray, and digital streaming, with the Blu-ray offering a high-fidelity experience featuring Dolby Atmos and DTS-HD surround mixes. Immersive audio fans will also be able to enjoy the album on Apple Music in Dolby Atmos, courtesy of Thiago Lima’s expert mixing at Iguana Studios in Toronto.
A deeply personal work, “Bringing It Down to the Bass” serves as a sonic autobiography of Levin’s extensive career, blending genres like prog, jazz, classical, and even thrash. The album showcases not only Levin’s renowned bass playing but also his signature wit and creativity. While the focus is often on the bass, Levin has crafted a diverse musical journey that surprises at every turn, incorporating a wide array of collaborators from his decades-long career. The album is a testament to Levin’s versatility, featuring a variety of instruments and styles that reflect his journey through the world of music.
One of the standout tracks, “On the Drums,” pays homage to the many world-class drummers Levin has worked with over the years. With a playful acapella male chorus, the song name-checks drumming legends like Ringo Starr, Phil Collins, Bill Bruford, and Stewart Copeland, all while giving a nod to Queen’s “Bohemian Rhapsody.” Another track, “Me and My Axe,” sees Levin reunite with Peter Gabriel Band alumni Steve Hunter, Larry Fast, and Jerry Marotta, adding even more depth to this eclectic album. As Levin gears up for a North American tour this fall with BEAT, performing alongside Adrian Belew and Steve Vai, “Bringing It Down to the Bass” offers a fresh perspective on a career that has shaped the sound of modern music.
Sonic Perspectives collaborators Rodrigo Altaf and Scott Medina sat down with Tony for a spirited conversation about his new album the preparations for the upcoming tour with BEAT, the recent tour with Stick Men, and reminisced about some of his legendary studio sessions. Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post TONY LEVIN Reflects On The Material Of His New Album “Bringing It Down To The Bass”: “I Put Away Some Of The Proggier Compositions, And Favored The Ones That Were More About The Bass” appeared first on Sonic Perspectives.
Richie Kotzen, a true musical powerhouse, will release a new solo album, “Nomad,” on September 27th. With this release, he continues blending the energy of rock with the soulful grit of the blues and R&B to create a unique, electrifying, and profoundly emotional sound.
On the opening track, “Cheap Shot,” Richie masterfully coaxes the perfect blend of hard-hitting rock riffs with his aggressive lyrical message. The crunchy guitar tones cut through to mirroring the song’s biting commentary. In a musical juxtaposition, Richie delivers a silky smooth, melodic solo at the conclusion of the title track, “Nomad,” as the notes cascade with a fluid, almost hypnotic quality to captivate the listener. Beyond his exceptional guitar work, Richie also lends his powerful, raspy vocals to all his compositions. His passionate delivery infuses the lyrics with raw, visceral energy, conveying unfiltered emotion that cuts straight to the heart.
“Nomad” continues solidifying Kotzen‘s reputation as one of the most dynamic and compelling artists in the contemporary music scene. Fans can expect to be blown away by Kotzen‘s virtuosic musicianship, his soulful vocals, and his unwavering commitment to delivering a heartfelt lyrical statement.
“Nomad” ArtworkPre-orders for “Nomad” can be found HERE.
Robert Cavuoto sat down with Richie to discuss his true passion, the creative process of songwriting. He explains the thrilling moment when something is brought into existence that didn’t previously exist.
Throughout his career, he has learned to trust his musical instincts, knowing when he has successfully conveyed his intended lyrical statement. He describes this as an immensely freeing feeling, no longer beholden to the expectations or standards of others. He divulges that the creative wellspring has yet to fail him, and sometimes, he steps away from guitar playing for weeks, waiting for that spark of inspiration to strike. This is the reward that keeps him returning to his craft.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post RICHIE KOTZEN Discuss Upcoming Solo Album, “Nomad”: “I Hear Music In My Head And Want To Make The Speakers Reflect It” appeared first on Sonic Perspectives.
Marty Friedman made a name for himself as one of the best guitar players on the planet. From his early years with Cacophony, alongside Jason Becker, through the years with thrash metal giants Megadeth and with a prolific solo career, he has consistently pushed the boundaries of guitar virtuosity and musical innovation.
Known for his distinctive style of blending intricate melodies with lightning-fast solos, Marty made a difficult decision in the year 2000, when he decided to leave Megadeth to become a solo artist. Since then, he released several albums, exploring different sides of his musical vocabulary. More recently, he released “Drama”, an album with a similar structure to “Scenes”, which he released in 1992. Recorded in Italy – a first for him – and containing ten instrumental tracks and two with vocals, “Drama” is a perfect showcase of Marty’s diverse output.
“Drama” Album ArtworkAside from releasing albums and relentlessly touring, Friedman has kept himself busy with his autobiography. Entitled “Dreaming Japanese”,the book is scheduled for release this winter, and promised to be wildly entertaining, inspiring, and revealing, as it delves into his struggles early on in his career, the Megadeth years, and starting fresh in Japan.
Our restless interviewer Rodrigo Altaf sat down with Marty to discuss the new album, touring plans, his years with Megadeth, and much more. Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post MARTY FRIEDMAN Reflects On New Album “Drama” And His Signature Playing Style: “I Express Myself As A Vocalist On Guitar, And Not As A Guitar Player” appeared first on Sonic Perspectives.
Jon Anderson has burst back on the scene with a new album everyone in the prog-rock circles is talking about. “True” is a true collaboration between Anderson and The Band Geeks, who Anderson discovered on a YouTube video playing “Heart of the Sunrise”. Check out our review of “True” HERE.
Comprised of a pro team of musicians led by Richie Castellano, The Geeks have helped Anderson explore Yes‘s expansive rock band approach more fully than anything else in his solo discography.
In this brand new interview, conducted on the eve of the release of “True”, Scott Medina explores how the songwriting came together on the new album, who contributed what, and some stories of what it’s like creating with Anderson. Castellano was also joined in the interview by keyboard wizard Christopher Clark, who was part of the core team writing and arranging the material on “True”.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post RICHIE CASTELLANO On Recording “True” Album With JON ANDERSON: “He’s Always Bursting With Creativity And Ideas. If We Would Ever Get Stuck, He’d Always Have An Answer” appeared first on Sonic Perspectives.
Metal Allegiance is a supergroup featuring its “Core 4” members: David Ellefson [bass], Mark Menghi [bass], Alex Skolnick [guitar], and Mike Portnoy [drums]. Together, they have forged a musical brotherhood that transcends them as individuals and unites them in their shared passion for metal’s thunderous, uncompromising spirit.
With two critically acclaimed albums under their belts, Metal Allegiance is bringing their all-star team of guest vocalists and musicians to Starland Ballroom in Sayreville, New Jersey, on September 6th, 2024. Additional musicians include but are not limited to John Bush [vocals], Dave Davidson [guitar], Doc Coyle [guitar], and Troy Sanders [bass/vocals]. This is the group’s first and only East Coast show in six years!
As with their previous performances, fans can expect a setlist that balances the group’s original metal anthems with very select cover songs paying homage to the titans of the genre. From the primal, pummeling riffs to the soaring, virtuosic solos, Metal Allegiance‘s live shows are a true celebration of metal’s most revered traditions, fueled by the camaraderie and musical kinship of some of the scene’s most legendary figures. It promises to be an unforgettable night of thunderous, fist-pumping metal for fans.
Get tickets to the show HERE, and VIP packages HERE.
Correspondent Robert Cavuoto sat down with Skolnick, guitarist for Testament and founding member of Metal Allegiance, to discuss what fans can expect at the Starland Ballroom show, the gear he will bring to the show, and how the band will have an intense all-day rehearsal to work out all the nuances.
Alex emphasized the importance of the rigorous pre-show regimen to the band’s dynamic lineup and celebrated guests. Beyond the Starland Ballroom show, he also updates us on Testament‘s back-to-back US and European tours and shares details on Testament‘s upcoming album.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post ALEX SKOLNICK: “No Two METAL ALLEGIANCE Shows Or Lineups Are Ever The Same” appeared first on Sonic Perspectives.
When five seasoned, high-caliber musicians come together to create a new record, the result is nothing short of pure, adrenaline-fueled rock and roll. This is precisely what fans can expect from The Dead Daisies‘ upcoming album, “Light ‘Em Up”, which is set for release on September 6th.
The Dead Daisies featuring John Corabi [vocals], David Lowy [guitar], Doug Aldrich [guitar], Michael Devin [bass], and Tommy Clufetos [drums]have a new collection of songs which carries on the band’s tradition of celebrating the classic, gritty sound of hard rock. “Light ‘Em Up” is dripping with solid hooks, unforgettable riffs, and an uncanny sense of melody from these rebellious rock and rollers. “Light ‘Em Up” tips the hat to classic rock but with a modern edge that will leave listeners in awe. This unapologetically loud, bold, and anthemic rock is what fans have been craving, and The Dead Daisies delivers.
To pre-order “Light ‘Em Up,” go HERE.
Correspondent Robert Cavuoto sat down with John Corabi as he shared why he left the band as well as his welcomed return. He reveals that he had even stepped in to rehearse with a version of the band featuring Glenn Hughes when Glenn was sidelined by illness to help prepare the group for a European tour. This underscores the close-knit camaraderie that defines the band’s dynamic on and off stage.
He also disclosed that the group recently recorded a blues cover album inspired by the creative energy they tapped into while recording “Light ‘Em Up” in Muscle Shoals, Alabama. A project that reflects the band’s desire to pay homage to their roots and musical heroes while showcasing their versatility as artists.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post JOHN CORABI Talks THE DEAD DAISIES New Album “Light ‘Em Up”: “We Wrote, Recorded, Mixed & Mastered It In 3 Weeks” appeared first on Sonic Perspectives.
After the Mandoki Soulmates‘ 30th Anniversary Tour, the band retreated to singer, songwriter, composer, and drummer Leslie Mandoki‘s studio on Lake Starnberg in Germany to work on a brand-new prog rock album. The result was “A Memory of Our Future,” released worldwide on May 10, 2024.
Leslie and his Soulmates have long been revered for their unwavering commitment to the principles of peace, respect, and resilience. With the recent release, he and his rebellious musicians have once again demonstrated their ability to craft music that beautifully encapsulates these core values. At the heart of *“A Memory of Our Future”* is a profound sense of harmony, both musically and philosophically, that resonates with listeners on a deep, emotional level.
The band seamlessly weaves a lush tapestry of sound that invites the audience to reflect on the importance of maintaining a harmonious coexistence, even in the face of adversity. With each note and every lyric, the Mandoki Soulmates challenge listeners to embrace the transformative power of music, using it as a conduit for cultivating a greater sense of unity, compassion, and resilience within our global community.
The album’s title track, “A Memory of our Future,” serves as a poignant reminder that by honoring past lessons, we can forge a path towards a more peaceful and understanding tomorrow. “Devil’s Encyclopedia” is an outcry against the war of aggression in Europe and the propaganda machinery via social media with the agenda of fomenting division and hatred through manufactured conflicts, and “Enigma Of Reason” reflects our times, in which normality is going crazy, certainties are breaking away, and reality is overrunning fears and writing dramatic scripts.
“A Memory Of Our Future”The twelve songs form a masterful concept album as if cast from a single mold. They are filled with incredible musical diversity and transport listeners to a realm where the ideals of peace and respect reign supreme. Leslie made a deliberate choice to record the album using analog technology rather than the slick precision of digital methods. This analog approach allowed him to imbue the music with a raw, visceral quality that evokes the gritty realities of his upbringing while also giving the compositions a timeless and classic feel.
Correspondent Robert Cavuoto spoke to Leslie as he delved into the fascinating history and inspiration behind the concept of his heartfelt love letter to his audience. Leslie eloquently described how his upbringing of being born and raised behind the Iron Curtain during the era of Russian oppression cultivated his rebellious spirit which he channels into his songwriting, and spoke at large about the inception of “A Memory of Our Future.”
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish daily.
Order “A Memory of our Future,” HERE
The post MANDOKI SOULMATES’ Mastermind LESLIE MANDOKI Talks New Album “A Memory Of Our Future”: “Our Voice is Only As Strong As Our Audience Is Propelling Our Music!” appeared first on Sonic Perspectives.
When it comes to being a prolific artist, Andy Summers sets an enviably high standard. Having been a part of the power trio The Police in the 80s, he went on to explore a multitude of paths after the group semi-officially disbanded in 1986. His body of work includes several solo albums, collaborations with Robert Fripp and other guitarists, movie soundtracks, and more.
He’s also an accomplished photographer, having released a handful of books and done several exhibits of his work. When it comes to writing, Andy released his autobiography, “One Train Later” in 2006, and a collection of fictional short stories entitled “Fretted and Moaning” in 2021.
In addition to that, Andy has been touring non-stop in South America, with a Police cover band named Call The Police. He’s also doing a solo tour entitled “The Cracked Lens + A Missing String”, where he plays and shares some of his life experiences, as they’re prompted by his own photographs projected on the screen. His most recent solo album, “Vertiginous Canyons”, was inspired by a request from teNeues, the publisher of his photography book “A Series of Glances”, asking if he could create a few tracks to accompany the pages in the book. Andy projected photographs from the book onto a screen and played through various devices and sounds for two or three hours and voilà, the album was done.
Sonic Perspectives collaborator is a lifelong The Police fan Rodrigo Altaf, and took some time to sit down with Andy and discuss his new album, the current tour plans, the reissue of The Police’s “Synchronicity”, and much more.
The post ANDY SUMMERS Talks About His Solo Tour: “It’s A Funny Show And A Work In Progress – Virtuoso Guitar With Stand Up Comedy” appeared first on Sonic Perspectives.
The Gavin Evick Band has been riding high on critical acclaim following the recent release of their highly-anticipated new single, “Young, Wild & Free.” Debuting on June 20th, the song has already made a significant radio impact, capturing the attention of music fans with its driving anthemic rock.
Frontman and songwriter Gavin Evick has crafted a song that celebrates the carefree spirit of youth, with lyrics that speak to the universal desire to embrace life’s adventures and live in the moment while guitarist Gavin Hades propels the song with his shimmering guitar work and fretboard wizardry.
Together, they make “Young, Wild & Free” a contender for rock song of the summer. The success of the new single has only further cemented the Gavin Evick Band‘s reputation as one of the most exciting young acts in the contemporary rock landscape, with critics praising the group’s ability to blend classic rock influences with a fresh modern twist.
As the band continues to bask in the glow of this latest triumph, fans eagerly await more music as they continue performing live across the country. Correspondent Robert Cavuoto spoke with guitarist Gavin Hades about his musical foundation, how his father’s gift of a guitar inspired him to perform with Bret Michaels at 14 years old, what it was like to hear his song on the radio for the first time, and what fans can expect in terms of new music.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish daily.
The post Guitarist GAVIN HADES Talks About THE GAVIN EVICK BAND: “We Want To Bring Back The Feeling of 80’s” appeared first on Sonic Perspectives.
Somewhere between the organic feel of 70s hard rock and the wild technical craze of 80s heavy metal exists a middle ground where true magic resides. This is the realm occupied by Axel Rudi Pell, German virtuoso guitarist, and longtime solo artist, alongside one of the most prolific artists in the business at present.
Originally cutting his teeth in the European rock scene in the mid-80s with the Wattenscheid-based Steeler (not to be confused with the L.A., Ron Keel-fronted band that was the original springboard for Swedish shred god Yngwie Malmsteen), *Pell* has since amassed a strong following across the European continent and beyond, fielding a massive 20 full-length albums of original material, alongside an impressive array of compilations showcasing his ballad work and an eclectic selection of cover songs adapted to his own signature style.
Amid his longevity as an artist, *Axel’s band has proven a marvel stylistic consistency with a correspondingly stable lineup despite changing and wildly divergent trends throughout its 35-year run. Even at the height of the grunge explosion that saw many similar bands west of the Atlantic lose viability, Pell would unleash an unapologetic display of 80s melodic rock/metal mysticism that bridged the divide between Rainbow’s “Bent Out Of Shape” and Dio’s “Holy Diver”* with zero signs of stylistic impact from the Seattle craze in question.
From his own perspective, Pell has expressed admiration for several of grunge’s prominent artists, not the least among them being Kurt Cobain, but his conviction in continuing on his own path would see him pen such extravagant albums as “Eternal Prisoner,” “Between The Walls” and “Black Moon Pyramid” with famed former Rising Force vocalist Jeff Scott Soto at the helm during the darkest days of metal’s history as an art form in the public eye; albums that arguably functioned as a rallying cry for the subsequent second wave of European power metal.
“Risen Symbol” Album ArtworkYet when considering the entirety of Axel Rudi Pell’s run as a band, the most pivotal development would occur in the years that would follow. Arguably the most consequential album of Pell’s solo career, namely 1998’s “Oceans Of Time,” would see the arrival of former Hardline vocalist Johnny Gioeli and keyboardist Ferdy Doernberg, codifying what could be dubbed this band’s signature sound. Though several drummers of note such as ex-Stratovarius kit man Jorg Michael and prolific studio and touring veteran Mike Terrana would filter in and out, the current incarnation with ex-Warlock drummer Robby Rodinelli in congress since 2014’s “Into The Storm” stands as the fold that Pell himself considers the most potent and finely tuned incarnation of the project.
The albums that have followed have showcased a band continually refining their vintage 70s and 80s-inspired sound, with a controlled sense of evolution that has kept things from becoming an overt throwback and well within the realm of present-day studio practices. One might argue that the song ultimately remains the same here, but with the arrival of Pell‘s latest studio entry “Risen Symbol” standing as a culmination of the past 10 years of studio work, it’s a song that also seems to get better and still has few surprises left in store.
Though his fans might see him as either a king who is also a wizard, or possibly the reigning king of wizards, Axel Rudi Pell is a veteran of the stage and studio who has remained humble and approaches his craft with a clear-cut philosophy of his skill serving his songs, rather than the other way around. Jonathan Smith was fortunate to catch up with this auspicious weaver of an older style in a new era to reminisce upon his formative years as a guitarist in the 70s, his subsequent tenure in both Steeler and his eponymous solo band, and his newly minted 20th studio album “Risen Symbol.”
Alongside his glowing words for such noted influences as Ritchie Blackmore, Uli Jon Roth, Michael Schenker, and Eddie Van Halen, Pell was of good humor when discussing the occasional comparisons to Malmsteen, the odd coincidence of his first prominent band sharing the same name with the latter’s first noteworthy project, and was frequently self-deprecating in his approach to humor while plugging his extensive body of work.
Words like staying power, stalwart, and tenacity don’t begin to do justice to the commitment and ethic that has kept him in the game into his mid-60s, and it’s a foregone conclusion that he will continue to build mist-shrouded, magical castles of sound as long as his mortal avatar remains upon this Earth.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post AXEL RUDI PELL Discusses New Studio Album “Risen Symbol” & The Importance Of Staying True To One’s Craft: “I See Myself As A Regular Guitar Player Who Can Write And Compose Good Songs” appeared first on Sonic Perspectives.
The Prog/Metal/Rockproject Harpazo has been 16 years in the making. Back in 2008, Marc Centanni began taking guitar lessons from former Shadow Gallery axe-man/keyboardist/background singer Gary Wehrkamp. Centanni was something of a writer, and a poet, with an interest in religion.
He showed some of his work to *Wehrkamp*, who was suitably impressed. He decided to put the words to music, just to see what would happen.
Neither man could have imagined that it would take so long for the project to come to fruition. Life provided challenges. *Wehrkamp’s home and studio were destroyed by fire—although the Harpazo* tapes were saved. Covid put things on hold. The pair were continually refining the work, changing words, trying new instrumentation, and looking for a goal that they weren’t quite sure existed.
“The Crucible” Album ArtworkBut it did. Harpazo – which basically translates to the biblical Rapture – comes out with the album “The Crucible” today (June 28). The final story, as Wehrkamp and Centanni told our contributor Mark Boardman, is a bit of a mashup. There are many references to the Bible’s Book of Revelation, with an anti-Christ figure and an ending of redemption and salvation. But it also has touches of AI, cyber tech, and more. **Wehrkamp’s music—most of which he performed, with the help of several guest vocalists and instrumentalists—drives the Rock Opera to greater and greater heights.
The conversation also touched on the nature of faith and how the project brought each of them into a deeper understanding of and relationship with God. But it took them a long time to get there…
Order Harpazo‘s debut album “The Rapture” from HERE (USA) or HERE (Rest Of The World).
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post GARY WEHRKAMP (SHADOW GALLERY) & MARC CENTANNI Talk New Opera Rock Project HARPAZO: “This Is A Theatrical Concept Album, With Powerful Musical/Lyrical Passages” appeared first on Sonic Perspectives.
One of the pioneering acts of the Gothenburg/Swedish metal scene, along with In Flames and At The Gates, Dark Tranquillity has remained a steady force in the realm of melodic death metal.
On August 16th, the band will unveil their 13th studio album, “Endtime Signals”. Building on the success of previous releases such as “Atoma” (2016), which climbed up to #2 in the Swedish album charts, and “Moment” (2020), which earned the band a Swedish Grammy Award, the new album is posed to become a fan’s wet dream.
Despite counting on a revamped lineup, it showcases the band’s identity in every aspect – from the cover to its themes of despair, the varied vocal delivery, and right up to the last note. The album release date, August 16th, was strategically picked: it will coincide with the band’s appearance at the Summer Breeze Open Air in Dinkelsbühl, Germany. In addition to that, the band has scheduled a North American tour with Amorphis in the summer and will be touring in Europe with Moonspell, Wolfheart, and Hiraes in the fall.
“Endtime Signals” Album ArtworkPre-order “Endtime Signals” HERE.
Singer Mikael Stanne, the only original member of Dark Tranquillity, not only keeps himself busy with his main band. He’s also involved in other acts, such as The Halo Effect, currently touring, and the newly formed Cemetery Skyline, a who’s who of Scandinavian metal with a melodic yet heavy sound. Cemetery Skyline is planning its live debut for August, which means Mikael is gearing up for a lengthy period on the road.
Collaborator Rodrigo Altaf sat down with Mikael to discuss the pessimistic view that “Endtime Signals” exudes, how the new lineup dynamics influenced the creative process, his involvement with other bands, and a myriad of other topics.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post DARK TRANQUILLITY’s MIKAEL STANNE Talks “Endtime Signals” Album: “In Many Ways, This Was Like A New Beginning For Us, It Felt We Had Something To Prove” appeared first on Sonic Perspectives.
For 40 years, Hasse Froberg has been putting out quality music. For 30 of them, he’s been a part of Swedish prog band The Flower Kings. Therefore, 2024 is a banner year for him. And he’s celebrating that with a new album from his band Hasse Froberg and Musical Companion (HFMC). “Eternal Snapshots” is the sixth record by the group, and it is a wonderful examination of the ups and downs of life—both musically and lyrically.
Froberg spoke to Mark Boardman just a mere week before the album release (last June 6th), and they chatted about his long trek through rock and roll, which started with hard rock in the early ‘80s before morphing to progressive rock in the mid-’90s. He talked about the balancing act that he faces in performing with both The Flower Kings and HFMC and also examined the reasons why so many Swedish bands base their sounds on compelling melodies and hooks (yes, he and many other musicians did buy ABBA records when they were little kids).
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post HASSE FROBERG On Why Melody Is A Staple Of Both THE FLOWER KINGS & His Own Solo Band: “We Have A Tradition Of Folk Music That Touches On All That We Do In The Rock Field” appeared first on Sonic Perspectives.
In the realm of hard rock and guitar virtuosity, few names resonate as profoundly as Rik Emmett.
Renowned for his masterful fretwork and distinctive vocals, Emmett has left an indelible mark on the music world through his solo career and tenure with the iconic Canadian rock band Triumph. Recently, he unveiled “Diamonds – The Best of the Hard Rock Years 1990 – 1995,” a compilation featuring tracks from his first three solo releases alongside two previously unreleased gems, fans can go on a sonic journey through Emmett‘s evolution during this dynamic period.
In an interview, with Sonic Perspectives collaborator Rodrigo Altaf, Rik graciously offered insights into the compilation and his illustrious career. Reflecting on the selection process behind the album’s tracklist, Emmett delved into the creative process that fueled his solo endeavors during the early ’90s. From the raw energy of “Absolutely” to the introspective musings of “The Spiral Notebook,” each song encapsulates a distinct facet of Emmett‘s multifaceted artistry, promising listeners a captivating auditory experience.
Beyond his musical exploits, Rik Emmett candidly addressed personal challenges, including his health journey and his tenure as a music teacher. Despite facing obstacles, Emmett‘s passion for music remains undiminished, evident in his commitment to sharing knowledge and inspiring future generations of musicians.
The conversation also touched on tour plans and the prospect of live performances – as his fans eagerly awaited the opportunity to witness Emmett‘s electrifying stage presence once more. Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post RIK EMMETT On Collaborating With ALEX LIFESON & JAMES LABRIE: “That Was Probably One Of The Greatest Days In The Studio In My Life” appeared first on Sonic Perspectives.
As the bassist for Armored Saint and *Fates Warning, Joey Vera has carved a unique legacy in the genre, spanning decades of uncompromising musicianship and reliable low-end on both these bands. With Armored Saint, he’s been an integral force behind the band’s dynamic blend of power, melody, and raw energy, while his tenure with Fates Warning* has seen him contribute to the band’s progressive metal soundscapes, pushing boundaries and captivating audiences worldwide.
Joey toured with *Anthrax in the mid-2000s and more recently played with Mercyful Fate until conflicts of schedule led him to leave the band. And if that wasn’t enough, he’s also a member of the hard rock outfit Motor Sister, along with vocalist/guitarist Jim Wilson (Mother Superior), guitarist Scott Ian (*Anthrax*), drummer *John Tempesta (White Zombie, The Cult) and vocalist Pearl Aday (Pearl)
*Armored Saint has been on a particularly tumultuous path. The loss of guitarist Dave Prichard, who succumbed to leukemia in 1990 was definitely the lowest point, and difficulties with the record company and the overall market landscape led to their split in 1992. Singer John Bush would join Anthrax and record a series of albums, and Armored Saint would only reunite in 1999, although their output would be sporadic back then. The release of 2010’s “La Raza”* marked a period of more intense activity from the band, and nowadays they seem more active than ever.
Recently touring the U.S. and Canada in support of Queensrÿche and later doing a set of headlining shows in the US, *Armored Saint* had a handful of hectic few weeks and will take a break until the busy festival season during the summer months in Europe.
During their recent stop in Toronto, bassist Joey Vera sat down with Sonic Perspectives collaborator Rodrigo Altaf to discuss the recent tour, a few memorable shows from his past, and plans for the remainder of 2024. Listen to their spirited chat in the links below.
The post JOEY VERA Talks ARMORED SAINT’s Recent Tour, Upcoming New Single, And Discusses Likelihood Of FATES WARNING Touring appeared first on Sonic Perspectives.
Sebastian Bach will release his long-awaited studio album, “Child Within the Man”, on May 10th via Reigning Phoenix Music.
With a career that has spanned over 35 years and tens of millions of albums sold, billions of streams, chart-topping songs, and packing arenas/theaters worldwide, Sebastian is back with a vengeance with the release of “Child Within the Man”. All hail the new “King of all Media” with his monstrous imprint on music, theater, film, television, and pop culture.
Although his last album, “Give ‘Em Hell”, was released in 2014, Sebastian continued to tour and perform. He launched successful tours such as 18 and LIVE and the celebratory 30th-anniversary outings in honor of Skid Row‘s self-titled album and “Slave To The Grind”. In 2016, he released his critically acclaimed autobiography “18 and Life on Skid Row”.
“Child Within the Man” sees Sebastian blending the raw energy of aggressive metal with the allure of unforgettable melodic hooks. To bring his ten-year musical vision to life, Sebastian tapped into a diverse pool of talented musicians from the rock and metal world. Leading the charge with his unmistakable vocals, Sebastian enlisted Devin Bronson on guitar, Todd Kerns on bass, and Jeremy Colson on drums for the album. Adding luminaries like *Myles Kennedy, John 5, Steve Stevens, and Orianthi* as collaborators and guest stars further enriches songs with their unique styles.
“Child Within The Man” Album ArtworkWith Elvis Baskette producing, it’s no surprise that the result is a boundary-pushing endeavor, delivering entertaining and enduringly memorable music. It’s exciting to see artists like Sebastian continue innovating and evolving within the metal and rock landscape.
On April 14th, Sebastian performed at the Whiskey-a-Go-Go and will start his tour in Brazil on April 26th. To pre-order the album or tickets to his upcoming shows, click HERE.
Correspondent Robert Cavuoto spoke with Sebastian, who shares how his management didn’t allow him to listen to his completed album or discuss any details of its creation with friends or family, how Myles Kennedy approached producer Elvis Baskette about sharing song ideas – one of them became the first single, how he appreciated working with *Myles, and why Sebastian* thinks this is his comeback album!
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post SEBASTIAN BACH Talks New Album “Child Within The Man”: ‘It’s Mindblowing To Have My Songs Played On FM Radio In 2024’ appeared first on Sonic Perspectives.
Pondering the definition of darkness and evil might be a daunting task for most, but for death metal pioneer and Deicide frontman Glen Benton, it’s just another day at the office. Originally cutting his teeth in the local Florida metal scene in the mid-80s, he would garner a reputation as the guy who scared everybody’s girlfriend off at the local show upon assuming vocal duties and becoming one of the key figures in the formulation of the signature guttural style that has since become the death metal standard.
But it would be his fateful union with drummer Steve Asheim and the Hoffman brothers, then under the moniker of Amon, that his prowess as a bassist and his unique vocal approach would find a welcome home in which to develop and ultimately shine its morbid darkness beyond the confines of Florida.
Following the name change and the subsequent unholy quadrilogy of classic studio albums with iconic engineer Scott Burns at the controls in the eponymous debut, “Legion”, “Once Upon The Cross” and “Serpents Of The Light” respectively; the stylistic direction of Deicide would become a bit more fluid, and with it some chaos in the original lineup. Indeed, many have come to draw the line between the classic era of the band and what came after at this point, with the subsequent releases of “Insineratehymn” and “In Torment In Hell” adopting more of a modern, groove-oriented character.
Following a partial return to form on 2004’s “Scars Of The Crucifix” and the subsequent departure of the Hoffman brothers from the fold, a different yet equally ferocious Deicide would emerge with the entry of ex-Cannibal Corpse guitarist Jack Owen and especially shred maestro Ralph Santolla to the fold, unleashing arguably the most consequential post-90s death metal offering in “The Stench Of Redemption” and kicking off the present era of the band.
The road since has naturally had its fair share of additional bumps and detours, but no one could suggest that at any point Glen, Steve, and company would ever compromise their principles or stray too far from the sound that has come to be associated with the Deicide name. That being said, the recent resurgence of interest in the primordial era of the band and particularly their 1992 sophomore opus “Legion” would lead the band to revisit the album while on the road following the loosening of Covid restrictions.
“Banished By Sin” Album ArtworkOne wouldn’t be too far off base to conclude that this eventuality rekindled this fold’s interest in their own roots, thus having a heavy impact on the highly old-school character of their 13th and latest studio LP “Banished By Sin”. Very much a multifaceted affair, this soon-to-be-released opus carries with it the stylistic hallmarks of not only “Legion,” but just about every Deicide entry from the beginning up until the present to some degree, though the aforementioned sophomore album is pretty heavily favored in this entry’s overall execution and tone.
Pre-order “Banished By Sin” HERE.
Though some may have the impression of Glen Benton being a demonic sorcerer who simply sprang from a flaming hole in the ground of Florida in 1990, the man himself is very much a good-humored and affable fellow by every definition. Jonathan Smith was honored to catch up with this key figure in death metal’s genesis and development to discuss the soon-to-be-released Deicide album “Banished By Sin,” as well as the upcoming tour in support of the album, the road that brought the band to this point, and even Glen’s take on the current music scene.
Even the story of Deicide initially being invited to and ultimately declining to take part in the filming of the iconic scene from Ace Ventura: Pet Detective that ultimately went Cannibal Corpse was a topic of discussion. Through it all, Glen has stuck to his core philosophy of death metal being an intimate, up close and personal mode of extreme expression that works best when it sticks to its roots, and “Banished By Sin” is an album that conveys that very point while still showcasing the sub-genre’s range and capability of stirring the proverbial cauldron.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post DEICIDE’s GLEN BENTON Talks Upcoming Album “Banished By Sin” And Going Back To Old-School Basics: “I Don’t Do This For The Money But For The Respect And The Fans.” appeared first on Sonic Perspectives.
California gothic metallers New Year’s Day released their 5th studio album, “Half Black Heart,” this past March via Century Media, five years after 2019’s “Unbreakable.”
The band has been systematically releasing singles and videos since August 2022, starting with “Hurts Like Hell.” Since then, they provided fans with four additional songs leading up to the album release.
“Half Black Heart” visually symbolizes the band’s essence. It represents the duality of a half-red, half-black, half-heavy, half-poppy, half-dark, half-fun, half-metal, and half-rock album. It’s a powerful and emotional exploration of relationship struggles and society’s collective experiences during the pandemic. The songs continue to channel the darkness within their signature metal sound.
“Half Black Heart” Album ArtworkNew Year’s Day reunited with former members and longtime collaborators Jeremy Valentyne on guitar, Brandon Wolfe on bass, and Trixx on drums. The collective is rounded off with Nikki Misery on lead guitar and Ash Costello on vocals. New Year’s Day was formed in 2005 and quickly gained critical acclaim with their 2007 debut album, “My Dear.” In nearly two decades, they have released a string of albums showcasing their particular take ondark melodies, haunting vocals, and heavy riffs.
You can order “Half Black Heart” at THIS LOCATION.
Correspondent Robert Cavuoto spoke to Ash Costello about the personal turmoil and pandemic chaos that fueled the creation of this album. She divulged why she couldn’t write happy songs and discussed the strategy behind releasing five singles before the album’s release. Ash also explained how band member changes have been a blessing over the years due to the friendships they have forged, and they will never bring in new members because they are so close-knit. There is also some top-secret in the works regarding The Haxans.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post ASH COSTELLO Talks NEW YEAR’S DAY Recent Album “Half Black Heart”: “Confidence is Our Secret Weapon” appeared first on Sonic Perspectives.
Ace Frehley‘s newest studio album, “10,000 Volts,” has been met with critical acclaim and chart-topping success, due in part to Steve Brown‘s involvement as co-writer and co-producer. Together, they forged a dynamic partnership and chemistry that shines bright on this release.
The album showcases Ace’s incombustible vocals and guitar playing as he delivers his signature sound, which only the Space Ace can do. Ace impressively leaps from the powerhouse opener of “10,000 Volts” to the poppy “Cherry Medicine” to the soulful balladry of “Back into My Arms Again.” He closes the album with an epic guitar instrumental, “Stratosphere,” in all its grandeur. Eleven songs in all!
Steve has also been busy with Trixter, which recently completed a tour with Mr. Big and a UK acoustic tour. They are now back in the US, performing loud and electrical. They also have an upcoming tour starting this May with Enuff Z’nuff and Pretty Boy Floyd. Ticket and VIP packages are available HERE.
Correspondent Robert Cavuoto spoke to Steve Brown about the creation of “10,000 Volts” with his guitar hero, and how he worked Ace hard to get the best results. Fans will be excited to hear Ace will release an expanded edition of “10,000 Volts” with some new songs and alternate versions of existing songs. Steve also shares what it was like for *Trixter to be joined by Pete Loran in Arizona on three songs during Trixter*‘s set.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post STEVE BROWN On ACE FREHLEY’s “10,000 Volts” Record: “ACE Had 100% Say Over Every Aspect On This Album” appeared first on Sonic Perspectives.
Billy Morrison will release his third solo album, “The Morrison Project,” on April 19th via TLG/Virgin Music Group.
The British guitarist, singer, and songwriter is primarily known as the rhythm guitarist for Billy Idol‘s band for the past 15 years alongside lead guitarist Steve Stevens. “The Morrison Project” is the follow-up to Billy‘s critically acclaimed and smoking-hot 2015 solo release, “God Shaped Hole”.
“The Morrison Project” is a testament to Billy‘s diverse musical influences, featuring twelve new studio tracks. Six of these are enhanced by all-star performances of his closest friends, including Ozzy Osbourne, *Billy Idol, D.M.C., Al Jourgensen, Steve Vai, Steve Stevens, Corey Taylor, Linda Perry, and John 5. The other six songs showcase Billy‘s punk ethos as he takes on lead vocal duties. From the haunting and bluesy “Crack Cocaine” with Ozzy and Steve Stevens, to the industrial rap with D.M.C. and Persia Numan, to the all-out punk assault on “It’s Come to This,” and “Dystopia,” the album is a masterclass in musical diversity. Regardless of the genre, every track’s underlying ebb and flow is the melody, making this album a must-listen for all music enthusiasts. “The Morrison Project”* was mastered loud and deserves to be cranked!
“The Morrison Project” Album ArtworkStream the recent single “Crack Cocaine,” HERE.
Correspondent Robert Cavuoto had an enthralling and insightful interview with Billy Morrison about how a song idea for his best friend *Ozzy Osbourne sparked the creative process for creating a complete album. How his knack for selecting the right song for the right singer led him to work with so many of his friends. Billy also shares his love for pop and hip hop, which led him to collaborate with Rock and Roll Hall of Famer Darryl McDaniels (aka D.M.C.) for the industrial track “Just Like a Movie.” The interview also delves into the background of the song he and *Steve Stevens* created for Billy Idol*, “Mr. Dream.”
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post BILLY MORRISON Talks “The Morrison Project” Album & Recent Single Featuring OZZY OSBOURNE: “’Crack Cocaine’ is the OZZY Riff That Never Got Written!” appeared first on Sonic Perspectives.
Honeymoon Suite have just released one of the greatest comeback albums, “Alive” this February via Frontiers Music Srl.
Throughout their career, the band has sold over a million albums worldwide since their debut release in 1984. Their first single “New Girl” put them on the map with fans as their video was in heavy rotation on MTV and MuchMusic and heard on the radio stations in North America. In 1985 the band released “The Big Prize” which garnered four hit singles, including the band’s biggest hit in the U.S., “Feel It Again” and “Bad Attitude.” Since that debut release, Honeymoon Suite has released seven studio albums and continues to be one of the most influential forces in melodic hard rock today, and for many, they continue to be part of the soundtrack to our lives.
With “Alive,” the band has created ten emotionally powerful songs that flourish with vocal melodies, big guitar hooks, and insightful lyrics about love and pain. Their songs usher in hope, survival, and prosperity with a twist.
“Alive” Album ArtworkThe new singles, “Alive” and “Find What You’re Looking For,” have been met with critical acclaim and showcase Honeymoon’s Suite‘s talent for creating hit songs that are both concurrent with their time and timeless all at once. The band consists of Johnnie Dee [Vocals], Derry Grehan [Guitars, keyboards], Dave Betts [Drums], Gary Lalonde [Bass], and Peter Nunn [Keyboards]. You can order “Alive” HERE.
Correspondent Robert Cavuoto spoke to Derry Grehan about their comeback with “Alive”, how the band is always looking for new angles on how to write love songs, working with producer Mike Krompass who gave the songs a fresh modern edge, the band’s longstanding connection with Nigra Falls, and the main reason why Honeymoon Suite never broke in the United States.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post HONEYMOON SUITE’s DERRY GREHAN Talks Recent Album “Alive”: “Is Fresh & Vibrant But With the Band’s Classic Sound” appeared first on Sonic Perspectives.
On February 16th, Art Of Anarchy released their third and most powerful album to date, “Let There Be Anarchy,” via Pavement Entertainment.
Jeff Scott Soto is now at the helm on vocal and purveyor of thematic lyrics, Jon Votta and Ron “Bumblefoot” Thal on guitar, Vince Votta on drums, and Tony Dickinson on bass deliver a powerful metal album with technical playing and the perfect balance of melodic verses & choruses. This album builds on the success of their previous two releases, “Art Of Anarchy” (2015) with Scott Weiland and “The Madness” (2017) with Scott Stapp.
Songs like “Echoes of Madness,” “Die Hard,” and epic closer “Disarray” all showcase the band’s unbridled passion for hard rock and love of their instruments. “Let There Be Anarchy” with its ten tracks will exceed any fan’s expectations leaving them breathless by the time it reaches the last power chord. The sky’s the limit for *Art of Anarchy* with this new beginning.
*Art Of Anarchy is doing a run of eight shows on the East Coast this month to promote their new album. Tickets for their shows can be found HERE*.
Correspondent Robert Cavuoto spoke to *Soto about his involvement in the band, the creation of the ten songs on the album that took over two years to complete, the lyrical inspiration for songs, his approach to keeping continuity between the band’s first two albums, and his thoughts on the status of Son Of Apollo*.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post JEFF SCOTT SOTO Talks ART OF ANARCHY New Album: “I Bring A Classic Rock & Blues Sound, Different Than Previous Singers” appeared first on Sonic Perspectives.
Big Big Train is a band with an extraordinary history of 25 years, replete with personnel changes dozens of times over. The main constant throughout the years has been Gregory Spawton, whose guitar and bass playing define the band’s sound as much as his songwriting. From the highs of bringing in David Longdon, Nick D’Virgilio, Dave Gregory, Rikard Sjöblom, and others for an extraordinary run of albums, to the lows of the tragic passing of Longdon and many changeovers in the band’s lineup, there is a unique thread that has run consistently throughout the band’s history.
However, following Longdon’s passing there was an uncertainty if the bandwould carry on or not. Once it was decided that yes, *Big Big Train* still had a future yet to be discovered, it was clear that the next studio album would have to deliver a defining statement.
“The Likes Of Us” Album ArtworkIn this interview with Spawton and new lead singer Alberto Bravin, Scott Medina explores the journey that the band took in creating one of their finest albums yet, even as they reinvented themselves once more with “The Likes Of Us”. We discuss the stories behind the songs, the vetting process of the new singer, their upcoming tour of the States and beyond, plus much more.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post GREG SPAWTON & ALBERTO BRAVIN Discuss The Inception Of BIG BIG TRAIN New Album: “We Needed To Make The Best Album We Possibly Could, Us At The Top Of Our Game.” appeared first on Sonic Perspectives.
Metal Hall of Fame inductee Blaze Bayley (Iron Maiden singer 1994-1999) has already released the three singles from his forthcoming album “Circle of Stone”. The recording of the record had been completed just two days before Blaze suffered a severe heart attack in 2023, and the album was put on hold whilst health matters and recovery progressed. Having returned to live shows in late 2023, Blaze is now stronger than never and ready for a new album release and extensive touring.
Blaze‘s regular team recorded “Circle of Stone” with Christopher Appleton (of UK band Absolva) engineering, mixing, and co-producing with Blaze (split between their home studios in Manchester & Birmingham respectively), & Ade Emsley mastering. Appleton also played lead guitar alongside his brother Luke Appleton on power guitar, Martin McNee on drums & Karl Schramm on bass.
“Circle Of Stone” Album ArtworkWhile the previous album “War Within Me” consisted of independent and more direct songs, and his albums before that told a concept story called “Infinite Entanglement”, “Circle of Stone” is a combination of these two approaches. Tracks 1 to 6 address a variety of subjects, while the second half consists of a concept suite – a story that touches on the Celtic ethos and involves war between different civilizations, the old being replaced by the new, and other themes.
Join us as we discuss with *Blaze the themes of the new album, his recovery from his health issues, his future plans, and the customary question about Iron Maiden, in a lengthy interview conducted by Rodrigo Altaf*.
Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post BLAZE BAYLEY On His Return After His Quadruple Bypass Surgery: “I’ve Been Singing Better Than I’ve Done In Years!” appeared first on Sonic Perspectives.
Brent Bristow is a music educator — and he looks it, a middle-aged guy with a bit of a paunch and a receding hairline. But Dr. Brent Bristow, the Director of Bands and head of the Department of Music at Arkansas State University-Beebe, has (or had) a secret life as a Progger.
Years ago, he had the idea of putting together a progressive rock project. He would write it up, perform on it, produce it — do whatever it took to bring things to fruition. But he couldn’t have dreamed where things would lead. Brent needed additional musicians; he’s a great saxophonist and keyboardist, and he could handle background vocals, but who would handle the other parts. Through connections, he found some excellent ones, including vocalist Jake Livgren (Proto-Kaw, Kerry Livgren) and drummer Noah Hungate (The Band Perry, son of Toto’s David Hungate).
Order Emerald City Council‘s debut album “Motion Carries” AT THIS LOCATIONAs Brent proceeded, the project came to the attention of prog-pro Neal Morse, who not only encouraged him but also endorsed the effort and first released it on his Waterfall app. The world needs to hear Brent Bristow’s project — Emerald City Council, and its debut album “Motion Carries,” which is out now via Melodic Revolution Records.
Recently, Bristow, *Jake Livgren, and Noah Hungate spoke with Sonic Perspectives’ Mark Boardman about this dream come true and a myriad of details surrounding the creation of “Motion Carries.”*
Listen or watch their conversation below and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard, and Twitter, and subscribe to our YouTube channel to be notified about new interviews and content we publish on a daily basis.
The post BRENT BRISTOW Of EMERALD CITY COUNCIL Talks Debut Album “Motion Carries”: “What Started As A Personal Recording Project Ended With A New Killer Band, A Record Deal, And The Support Of NEAL MORSE” appeared first on Sonic Perspectives.
Ihsahn has established himself as the cutting edge of extreme metal creativity for more than three decades, and this seasoned maverick shows no sign of slowing down with his self-titled double album “Ihsahn.” Featuring one album with his renowned black metal finesse, and a complimentary album built upon horror-cinema inspired orchestrals, “Ihsahn” is a magnanimous endeavor set to take 2024 by storm. Not only does it showcase the evolution and innovation that *Ihsahn is still capable of, it also ambitiously collects the talents that were once nurtured in Emperor‘s early days and subsequently bloomed across Ihsahn*‘s solo career.
Fans have spent more than five years waiting for this release: *Ihsahn‘s last full-length studio album, “Amr,” was released in 2018. There have been three EPs since – the contrasting set of EPs, “Telemark” and “Pharos,” as well as the instructional “Fascination Street Sessions” – but nothing quite as expansive as what awaits listeners in “Ihsahn.” This delightful treat has already shown itself to be well-worth the wait. There are rich stories waiting in its depths, and there are two full albums worth of content to both explore and enjoy. For those familiar with Ihsahn‘s work, the metal album will have familiar themes and musical signatures that have made him a household name in the extreme metal scene since the 90’s. And for newcomers and longtime fans alike, the orchestral side promises an adventure through sonic heights like never before. These elements are enhanced by the other talents that contributed to the making of “Ihsahn,” including Jens Bogren‘s familiar touch on the metal version, while Joel Dollie* brought fresh perspective in mixing the orchestral version of the album.
“Ihsahn” Album Artwork“Ihsahn” is so much more than just another black metal album. It is a rich conceptual journey with intention in every note, craftsmanship in every verse, and careful symbolism buried within every piece of accompanying art or media. From the haunting music videos that play out with the abstractions of a nightmare, to the delicately minimalist album art featuring branching antlers in monochrome, there is a deliberation that makes “Ihsahn” a seemingly boundless work of art. In an age of limited attention spans and the ever-increasing demand for short-form content, *Ihsahn* is demanding listeners to slow down and absorb an intricate and many-layered opus with full intent.
Sonic Perspectives contributor Samantha Buckman spoke with *Ihsahn* about the creation of “Ihsahn,” what makes this self-titled album stand apart from the rest of this metal maverick’s carefully curated discography, and some hints of the symbolism and easter eggs that await listeners within its depths.
Listen or watch their conversation below and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard, and Twitter, and subscribe to our YouTube channel to be notified about new interviews and content we publish on a daily basis.
The post IHSAHN Talks New Self-Titled Album: “This is the Kind of Album I Grew Up Loving . . . It’s Exciting and It Sparks the Imagination” appeared first on Sonic Perspectives.
On January 26th, 2024, Caligula’s Horse released their long-anticipated sixth studio album “Charcoal Grace,” and just days thereafter embarked on their headlining tour across North America. To enhance the talent onstage for the eager American metal scene, Caligula’s Horse is joined on this tour by supporting act and progressive metal compatriots Earthside.
The band’s prior studio album, 2020’s breathtakingly beautiful “Rise Radiant,” arrived at the most inopportune of times. Just as *Caligula’s Horse was preparing to depart Australia for their inaugural North American trek, venues shuttered their doors for the better part of two years, and the tour was put on indefinite hiatus. The world was faced with roiling waves of pain, confusion, and hurt, and as the band was musing their next steps, they faced yet another shakeup: guitarist Adrian Goleby departed the band. The quintetbecame a quartet, venues again began to welcome fans, and Caligula’s Horse got to work on their next big project (not without a very welcome appearance at ProgPower USA in 2023, marking their second appearance in the USA). Now, almost four years later, “Charcoal Grace”* has arrived in all of its passionate glory.
As *Caligula’s Horse has said time and again leading up to the album release, “Charcoal Grace” is not just a piece of art: it is an expression of pure catharsis. “Rise Radiant” was a delightful work of art, but its intended delivery to the world was stunted by circumstances beyond control. All of that pain, anger, and disappointment has found its outlet in this latest opus from these talented Australian metallers. From a mammoth 25-minute suite placed in the heart of the tracklist, the titular “Charcoal Grace,” to the intertwined bookends “The World Breathes With Me” and “Mute,” “Charcoal Grace”* is a wonder to behold. The intention behind its creation is evident in not just every note, but every associated work of art, and every live rendition.
“Charcoal Grace” Album ArtworkOrder “Charcoal Grace” HERE.
There’s no better way to learn more about the intensity and heart that brought “Charcoal Grace” to life than hearing from the primary songwriters themselves, which is what Sonic Perspectives had the opportunity to do while *Caligula’s Horse* kicked off their 2024 headlining tour.
Sonic Perspectives contributor Samantha Buckman spoke with guitarist Sam Vallen and vocalist Jim Grey about the creation of “Charcoal Grace” and how the band is doing on their North American headlining tour. The three discussed the band’s pivot to a quartet, the themes of the album, and what the group is most looking forward to as they trek across the States.
Listen or watch their conversation below and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard, and Twitter and subscribe to our YouTube channel to be notified about new interviews and content we publish on a daily basis.
The post CALIGULA’S HORSE Discusses New Album “Charcoal Grace” & Ongoing Tour: “Playing These Songs Live is Almost Like an Exorcism, Just Like This Album Was Meant to Be” appeared first on Sonic Perspectives.
“Nature can be brutal. Rough. Merciless. And uncompromising.”
Øystein Brun pauses for a moment before affirming: “But it is not evil.”
Brun would know. The son of a mountaineer, and a forest dweller since childhood, Brun has made a career out of penning psalms to the natural world that has since birth captivated his imagination. But don’t fool yourself into believing him to be an acoustic folk musician who sings about all the pretty flowers and shit.
Brun‘s psalms to Midgard carry with them both the serenity of the northern seas and the turbulence of the iciest vortex. To the untrained ear, Borknagar‘s music may resemble violent, frozen winds. But those who appreciate and understand the heavier sides of both music and nature regard it as an extension of the world it inhabits.
“This complexity and beauty of nature, the magic of reality… that is what I want to project through my music.”
Anticipating the upcoming release of Borknagar‘s fourteenth extollment to the world around them, Brun was gracious enough to chat with Sonic Perspectives Texas Bureau Chief Gonzalo Pozo just as an arctic blast that Herr Brun might have rather fancied kindly receded back north from whence it came without welcome.
“Fall” is the follow-up to 2019’s widely acclaimed “True North” studio album and will be available as a limited first-pressing Digipak CD, Gatefold 2-LP on 180gr vinyl, and as a Digital Album.
The vinyl edition of “Fall” will be available in the following variants:
- Gatefold black 2LP
- Ltd. Gatefold neon orange 2LP (300x copies, available from cmdistro.de & various other retailers.
- Ltd. Gatefold transparent bottle green 2LP (300x copies, available from EMP & Nuclear Blast).
Make sure to pre-order “Fall” in its various formats from today onwards HERE.
The post ØYSTEIN BRUN Talks BORKNAGAR Upcoming Album “Fall”: “The Beauty, Complexity & Magic Of Nature Is What I Want To Project Through My Music” appeared first on Sonic Perspectives.
When considering the origin of death metal, and especially its early development in Tampa, Florida; few can claim to have made such a consequential impact as that of Morbid Angel. What has since come to be known as the dreary, dissonant aesthetic that truly separated this sub-genre of extreme metal from its thrash metal roots can be traced to the chaotic blend of sludgy riffs and frenzied guitar soloing, blast-happy drum work, and most especially the deep and forbidding voice that would unleash the uncanny opus of darkness that was “Altars Of Madness” upon the masses in the late 80s.
Indeed, one could argue that David Vincent’s blend of abyssal growls and harrowing bass vocalizations set the standard by which death metal came to be known as the 90s rolled in, and consequently, a trail of auspiciousness would surely follow his voice wherever it may choose to hang its proverbial hat.
Though the band that originally accompanied Vincent on his rise to underground fame on college radio, MTV’s Headbanger’s Ball and Beyond is now several years in the rearview for a second time, this Charlotte, North Carolina native has continued blazing trails, with his most recent project being the textbook definition of a power trio and supergroup rolled into one dubbed Vltimas.
Conceived in the mid-2010s and bringing on board the colossal talents of former Mayhem and longtime Aura Noir guitarist Rune “Blasphemer” Eriksen and virtuoso drummer of Cryptopsy fame Flo Mounier, this newly codified fold would unleash a torrential downpour of blackened death via their 2019 debut “Something Wicked Marches In,” mixing elements of each member’s prior endeavors into a vicious witch’s brew of sonic carnage that would make a respectable splash despite its marketing and corresponding tour being stymied by the subsequent Covid lockdowns.
Now nearly five years to the day that this union of the extreme metal elite first broke into the market, an aptly named follow-up dubbed “Epic” promises to shake the pillars of the earth again on March 15th. The same blend of Northern European frost, Canadian brutality and old-school Florida mystique has been maintained and further augmented with an even more ambitious songwriting approach that further explores the sonic possibilities of Rune’s mastery of the six-string and David’s Wagnerian vocal persona, to speak nothing for the precision-based frenzy of percussion gymnastic that always follows Mounier’s involvement.
Along for the ride in a studio capacity is live bassist turned permanent member Ype Terwisscha van Scheltinga as Vincent has opted to focus solely on vocals in this project, as well as live second guitarist Jaoa Duarte to further fill out the arrangement. In every respect, *Vltimas* has proven to be far from a one-off side project for those involved and promises to be the full package on stage in the coming months.
Pre-order “Epic” HERE
“Epic” Album ArtworkWhile some might have the image of an immortal titan born from the underworld in their heads based on his stage and studio performances, David Vincent is among the most approachable and candid of individuals to reign within the Lovecraftian limelight.
Our contributor Jonathan Smith was privileged to catch up with one of death metal’s pioneering voices, to inquire about *Vltimas’ upcoming album, subsequent touring plans, the process of goes on in the studio when putting new music together, and also his thoughts about what death metal has become in the years since its initial rise to prominence in the early 90s. Time was also taken to delve a bit into the early years of Vincent’s development as a singer, as he noted his earliest experiences with music as a youth, how bands like Possessed and Celtic Frost helped influence his pioneering work in the death metal style, and even laughing about how MTV’s Beavis & Butthead* critiqued his vocal work back in the day.
It was a good-natured and informative interchange centered around a talent that still has much to offer audiences on both sides of the Atlantic, as the upcoming **Vltimas* album and tour are sure to underscore. Listen or watch their chat below, and remember that for more interviews and other daily content, make sure to follow *Sonic Perspectives on Facebook, Flipboard, and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post DAVID VINCENT Discusses VLTIMAS Upcoming Album “Epic”: “We Put A Lot Of Blood, Sweat & Tears Into This Record” appeared first on Sonic Perspectives.
About 20 years ago, a group of young men – some were kids, really – gathered in their home country of Tunisia to form a cover band. Metal, hard rock, blues, jazz, and more. Over the years, they’ve honed their sound into a distinctive blend of music with an oriental or Middle Eastern flare. Lead singer Zaher Zorgati calls it “blazing desert music,” and with it, the band has built a strong following over the last decade.
They call themselves Myrath, which translates as “legacy.” But the band’s legacy is in question as they try a more mainstream approach on their new album, “Karma”. Born out of the isolation of the COVID epidemic, and the realization that the band was not making money or building a large enough audience, the group listened to their hearts in composing “Karma”.
The effort was not without controversy, even within *Myrath. Their long-time keyboardist Elyes Bouchoucha decided to leave the group; he was quickly replaced by the band’s producer and manager, Kevin Codfert. But Myrath’s big test is still ahead—how will the audience receive “Karma” when it comes out on March 8th, 2024. Zaher Zorgati expressed the hopefulness and nervousness that come with a change of direction when he recently spoke with our contributor Mark Boardman*.
Watch or listen to their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
“Karma” can be pre-order HERE.
“Myrath from Tunisia might just be the most underrated band ever. Their new album really excites me — they have something fresh and back it up with a great stage show. They played a tiny stage at Wacken where nobody brings more than guitars and amps, and brought a two-truck production. It was amazing!,” says Pär Sundström of Sabaton fame.
As the sands of time continued to shape their journey, Myrath‘s relentless dedication led to the creation of “Karma”, which will arrive as a limited transparent red LP, black LP, and digipak. The forthcoming opus promises to be a testament to their evolution, delivering a sonic tapestry woven from passion and innovation.
“Karma” Album Artwork“Karma” Track Listing: 1. To The Stars 2. Into The Light 3. Candles Cry 4. Let It Go 5. Words Are Failing 6. The Wheel Of Time 7. Temple Walls 8. Child Of Prophecy 9. The Empire 10. Heroes 11. Carry On
The post ZAHER ZORGATI Talks MYRATH New Album: “We Came So Close To Splitting, We Were So Bored With The Oriental Sound. Why Limit Ourselves?” appeared first on Sonic Perspectives.
Saxon, the enduring titans of heavy metal, have released their 24th studio album, “Hell, Fire and Damnation” today (January 19th, 2024). We recently published our review of the album, and now you can get a glimpse into the creative process behind the album, with an exclusive interview with the band’s frontman, Biff Byford.
In an informative chat with our contributor Rodrigo Altaf, *Biff discussed the addition of guitarist Brian Tatler (also of Diamond Head), who replaced long-standing member Paul Quinn, the band’s evolution, and the main themes on the album. The conversation delves into the challenges faced during the tumultuous 90s, showcasing Saxon*‘s unyielding spirit in the face of adversity and the participation on the reality show “Get Your Act Together”, which brought the band back on track.
“Hell, Fire And Damnation” artworkThe pair also discussed the touring plans with Judas Priest and Uriah Heep, *Byford’s journey from bass player to becoming one of metal’s most recognizable frontmen, and whether or not Saxon* will ever release a concept album. Dive in and listen to their chat below!
For more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post SAXON’S BIFF BYFORD On The Band’s New Album “Hell, Fire And Damnation”: “I Don’t Think We’ll Ever Release A Perfect Album, But This One Comes Pretty Close” appeared first on Sonic Perspectives.
*Ace is Back, and I Told You So! The legendary guitarist, Rock and Roll Hall of Famer, and founding member of KISS, Ace Frehley, will release his newest studio album, “10,000 Volts” on February 23, 2024 via MNRK*.
The first three things that come to mind when you think of *Ace are guitar God, innovator, and virtuoso. He is one of the world’s most respected and influential guitarists who has forged an outstanding 50-year career. What separates the innovators like Ace from those who followed, is the courage to try something different. To break the rules and rewrite them at every opportunity. To challenge himself until something completely new is created that he can call his own. Ace* continues to find there are walls in guitar playing and songwriting he needs to break down.
Photo by Robert Cavuoto“10,000 Volts” goes beyond the boundaries of *Ace‘s previous solo endeavors and taps into a much statelier and melodic rock-oriented presentation of his music reminiscent of his 1978 solo album. There is no shortage of his theatrical vocals and entertaining lyrics on this release. Ace‘s energy is combustible as he delivers his signature crunchy guitar tone and fluid-like playing, with some blues bravado thrown in for good measure. He impressively leaps from the powerhouse opener of “10,000 Volts” to the punchy “Cherry Medicine” to the soulful balladry of “Back into My Arms Again.” He closes the album with an epic guitar instrumental, “Stratosphere,”* showcasing his fretwork skills in all its grandeur. In total, eleven finely crafted songs that will vibrate your soul.
“10,000 Volts” was co-written and co-produced by Steve Brown of Trixter and *Ace. Their dynamic partnership and chemistry shines bright on this release, and together, they are already plotting “Origins 3”* and a possible live recording.
Pre-Order “10,000 Volts” HERE.
“10,000 Volts” ArtworkCorrespondent Robert Cavuoto spoke to *Ace Frehley about creating 10,000 Volts” with Steve, who helped bring this album to life. *Ace**** shares how he has six portable recorders filled with new song ideas with has no interest in slowing down or retiring! He enjoys writing songs with positive energy and, after 17 years of sobriety, is no longer interested in writing lyrics with drug or alcohol references.
He admits he had his fair share of doubts about maintaining his creativity while getting sober but quickly realized sobriety made him even more creative. As much as Ace loves creating music, don’t count on him ever releasing an entire album of instrumental guitar music, as he feels his fans might not be interested in songs where he is not singing!
Listen or watch their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter, and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post ACE FREHLEY On His New Album “10,000 Volts”: “I Incorporated the Same Style Of Guitar Playing As I Did On The First KISS Album” appeared first on Sonic Perspectives.
Get ready to embark on a sonic journey with legendary guitarist and composer Scott Henderson as he prepares to release his highly anticipated album, “Karnevel!”, on February 2, 2024. Following the triumph of his previous album, “People Mover,” which clinched the title of the best fusion album of 2019 by Jazz Times Magazine, Scott is back with a musical revelation that promises to captivate and innovate.
“Karnevel!” is a testament to the guitarist’s exceptional ability to seamlessly blend elements of jazz, rock, funk, and blues in an authentic and musical way. With a diverse set of beautiful compositions, the album reflects Scott‘s 35-year journey as a bandleader, showcasing an artist whose playing and composing continue to evolve and reach new heights.
Recorded live in the studio with the same stellar lineup from “People Mover” – Romain Labaye on bass and Archibald Ligonnière on drums – “Karnevel!” captures the raw energy of a live session. Scott‘s dedication to sonic exploration is evident as he spent considerable time layering additional guitar tracks, introducing sounds that push the boundaries of his own musical palette.
“Karnevel!” Album ArtworkBorn in 1954, Scott Henderson emerged in the 1980s with the legendary band Tribal Tech, solidifying his position as one of the top guitar players and composers in jazz fusion. Having toured and recorded with iconic figures such as Chick Corea, Joe Zawinul of Weather Report, and Jean-Luc Ponty, Scott‘s musical legacy spans over 70 countries and includes a catalog of more than 20 albums.
Winner of numerous Best Guitarist awards and a fixture on the covers of international guitar magazines, Scott Henderson remains an influential force in the world of music. Check out this exclusive video interview conducted by Sonic Perspectives collaborator Rodrigo Altaf, as we delve into the inspiration behind “Karnevel!” and explore the mind of a true musical pioneer, including his unexpected love for metal.
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The post Legendary Fusion Guitarist SCOTT HENDERSON Talks New Album, Playing Influences And His Love For MESHUGGAH & PANTERA appeared first on Sonic Perspectives.
Norway’s Tor-Helge “Cernunnus” Skei is a creative genius whose highly varied body of work has already left what will prove a lasting impact on the music world. Although his elevated output has never been commercially oriented, revered creators like Tsjuder’s Nag and Shining’s Niklas Kvarforth understand the weight of his contributions. The latter stated the following in conversation with *“*From the Bowels of Perdition”: “I’m in eternal debt to Cernunnus as he has played a major part in building my musical legacy…” Indeed, Cernunnus has influenced countless bands.
Cernunnus founded the pioneering brutal, haunting, and ethereal black metal outfit Manes in 1992 as a side project to Atrox. Vocalist Sargatanas soon entered into the fold. Sargatanas and Cernunnus actually began collaborating in Perifa but discovered that they functioned best as a two-piece. Thus, this fabled duo crafted three historic demos — “Maanens Natt” (1993), “Ned i Stillheten” (1994), and “Til Kongens Grav de Døde Vandrer” (1995) — as well as a groundbreaking album — “Under Ein Blodraud Maane” (1999). After a hiatus, Manes emerged with a whole new lineup around Cernunnus and a genre-defying style that might seem radically different to most ears yet shares a definite inner link with the old material. Yes, Manes, an enduring vessel of authentic darkness, has always produced avant-garde art of the highest caliber and utmost integrity.
Of course, both incarnations of Manes can be described as wildly inventive. They are distinguished by their rare and lethally potent magical qualities, all-consuming atmospheres, fearless exploration, lack of limitations, etc. Once gripped by the spirit of Manes, it is, in my view, impossible to break from the spell of this enigmatic entity. That said, Cernunnus has had a variety of other stellar projects over the years, such as the currently active experimental duo Lethe, of which the celebrated Anna Murphy is a part, and the black metal acts Syning, Høstsol, and Manii — a mighty force that arose in 2011 and represents Cernunnus’ creative reunion with Sargatanas.
Between Manii’s “Innerst i Mørket” and Høstsol’s “Länge Leve Döden,” Cernunnus had an absolutely incredible year. In the black metal world, he put all but his bandmates and a couple of other esteemed voices to shame. However, it would be impossible to properly sing Cernunnus’ praise given the transcendent nature of his art. Thus, without further ado, we present the results of our discussion with the master himself.
This September, you unleashed the sublime masterpiece that is Manii’s *“Innerst i Mørket,” which *“MetalSucks” rightly gave a 5/5. Of course, I adore the album and believe that it represents a very special moment for black metal. Could you please take me through the creative process for this effort in terms of composing both the music and the lyrics?**
Thanks. The process wasn’t very different from the usual way I make music, really. I make small bits and musical pieces, all kinds of forms and styles, all kinds of instruments or source material all the time, always in create-mode, very seldom in consume-mode. Once in a while, a collection of these “sketches” (as I call them) feels like it kind of belongs together, and I begin working with it as a unity, as one thing. Up until this, it can be riffs, simple synth chords, samples, cut-up loops, or field recordings… anything, really. But as soon as the various ideas have a “purpose,” I rebuild much of it from scratch, turn synth parts into riffs, remove samples, write lyrics, etc. to shape it into whatever it wants to be.
Each band or project additionally has its own “flavor,” its own mood or sound… something that belongs to that project or band. Manii has this mental thing, where I need to be in a certain mood when creating states, which usually isn’t very pleasant to be in for longer periods of time, so I tend to work in short but intense bursts.
Never liked to talk about lyrics. They’re there to create a mood, an atmosphere, to enhance and add to the music.
I would like to note that Sargatanas gave what I believe was the year’s greatest black metal vocal performance, besides those of Niklas Kvarforth and Vicotnik, on “Innerst i Mørket.” Obviously, you and Sargatanas forged Manes’ classic and highly influential black metal content together. Is there anything that you would like to say about the evolution of your musical partnership with him?
I joined Perifa for a while when he was singing, and he followed me over to start Manes. He totally understands what I want with the music, and I know exactly what he wants to do with the vocals, how he will be singing on riffs. It’s a perfect match. We don’t really have to talk much about it or discuss how things should be done. It just fits perfectly. It’s been over 30 years, so, naturally, things have changed: the sound of his voice, how we record, what we want to do and express… But I think it has continually evolved for the better!
For the first time in Manii, you were joined on drums by Whoredom Rife’s V. Einride, a fantastic fellow Trondheim-based artist. Whoredom Rife has covered Manes’ “Maanens Natt.” I also know that you and V. Einride work together in Syning along with Levninger of Knokkelklang and Askeregn. Thus, I assume that there’s much understanding between the two of you. He added the perfect touch to “Innerst i Mørket.” How was the experience of collaborating with V. Einride on the album?
Bornyhake played drums on the second album (The first was a drum machine.) and the ‘Skuggeheimen’ single, and he did a great job, absolutely! But it’s so much easier to work with people living in the same place as you, and, also, the new material needed a little bit different drum style. So, Ole suggested V. Einride for the new album, and I thought it would be perfect…
And it was/is… By the way, I have played with V. Einride before… a long time ago… back when Keep of Kalessin were interesting (ouch), I played guitar for them at a gig here in Trondheim.
How was *“Innerst i Mørket” recorded? Was any of it done live?***
It was recorded in my own “facilities” (i.e. my living room), except vocals and drums, which were done at V. Einride’s place… We did it separately… First, I did the demo, as always, with drum machines and my own crappy “vocals.” Then V. got a version with the drums replaced with just a click, or cowbell or something, to keep the timing during the ambient and floating parts… And he recorded the drums and sent back the separate tracks. Then me and Sarg went to V.’s place a couple of times and recorded all the vocals. Then I took everything home and started mixing, replacing synths, re-recording guitars and bass, did some “mastering,” etc.
Both Manii and Syning are signed to the legendary Terratur Possessions, which I believe to be the top black metal label besides The Sinister Initiative. Terratur is, of course, the brainchild of Ole A. Aune, who assisted with Manes’ magnificent “Ihjelbrent Skatt” (2022) box set, the die-hard version of which includes material from your former zine, *“Stigma Diabolicum.” Could you kindly tell me about working with Aune — one of the most important figures in the black metal community?***
Smooth and easy. Not much nonsense, no soaps with logos, or action dolls. He’s been very supportive and, actually, was quite an important part in getting me motivated to make more “obscure” music again.
I really love Syning. I do want to emphasize that Levninger is a criminally underrated talent: Some believe that Knokkelklang’s *“Jeg Begraver” (2018) is one of the greatest black metal records ever made. *“Syning” (2021) is no less excellent. I’ve read that Syning came about naturally, but I was wondering: What was the black spark that inspired it?**
I had a couple of quite long tracks that I wasn’t sure what to do with and sent them to Ole. (I often send bits and pieces of music around to different people.) We started talking a little about it, and since I had just told him how much I loved Knokkelklang, he suggested Levninger for the vocals (and acoustic guitars)… And V. was perfect for the drums. I originally thought of it as a Manii album, but I felt it had a bit different feel to it, less mental, a different kind of grimness, so it had to become something different.
As far as Manes is concerned, I know that you’ve completed a new record, which, I assume, will be coming out at some point via Debemur Morti Productions. I’m really excited to hear it! Is there anything that you would like to share about it or any of Manes’ other future plans in advance?
Manes has turned into this slow-moving behemoth, always taking far too long between releases. The last few years messed up more things, but we didn’t stop making music. We have a bunch of stuff more or less finished now. We have this remix album that should have been released just after “Slow Motion,” but then the pestilence came, then the Russia thing… Maybe we will just post it on the net somewhere just to have it out and available.
We have a new album that is currently being mixed, and we just started on a single/EP series that you will hear more about early next year. The album will not be released by Debemur Morti… Lethe was also signed there for the first album, which they did a great job with… But they did things I can’t accept, so I’m not working with them anymore. We are looking around… Some interesting proposals and possibilities have popped up, but we will finish the album on our own terms first and then start talking with labels… maybe think about licensing instead of a trad “deal”… or something… who knows?!
I’m really fascinated by your Manes bandmates. Asgeir Hatlen has an absolutely incredible and bewitching voice. Torstein Parelius is a filmmaker and great mind. Rune Hoemsnes and Eivind Fjøseide are also terrific. What would you like our readers to know about your experience working with this outrageously talented group of people?
It’s an “eclectic” mix of people, yeah… Different backgrounds, different opinions, very different musical tastes, different ways of working and thinking… Kind of strange that we have kept together for more than twenty years now since we’re so very different, but maybe this contrast or friction is what makes Manes what it is.
Manes’ *“Slow Motion Death Sequence,” one of my favorite albums, turned five this year. In addition, as you more or less just noted, the equally phenomenal “Vilosophe” celebrated its twentieth anniversary. “Vilosophe” was your groundbreaking first non-black metal release, though you had been experimenting with electronics long before its unveiling. The album received stellar reviews right away. For example, Germany’s “Legacy” correctly gave it a 15/15. Are there any memories that you would like to share from the time period surrounding “Vilosophe”?***
Yeah. Lots of people were soooo disappointed, calling us sellouts and whatnot, as we expected. For quite a long time, we did think about finding a new name… But, well, who cares?! It’s just a name. People will associate it with whatever they want anyway.
I had just moved back from Oslo, where I had been living for a year and a half (programming graphics for video games) and was completely disillusioned with music and everything and had no idea what I wanted to do… Started talking with a few people, showing them some of the ideas I had been collecting during the last few years. We added some of the others’ ideas, and it kind of grew naturally… And it morphed into (neo-)Manes. We recorded it in Skansen here in Trondheim in quite a short time, a week or so, I think, or maybe two. During this, we also played some gigs, and after the album, we did a round of festivals, playing at some of the (at that time) major metal festivals in around Norway… to some surprised reactions from the metal crowd that didn’t know that we were a bit different than before.
Høstsol’s debut, “Länge Leve Döden,” which officially dropped on January 13 and earned a 10/10 from “Metal Injection,” is yet another one of my most highly regarded albums of all time. Høstsol is, of course, a supergroup that features you on guitars; Shining’s Niklas Kvarforth on vocals; ex-Shining and Ajattara’s Rainer Tuomikanto, who replaced Mayhem’s Hellhammer on drums; as well as ex-Barathrum and Ajattara’s Kalmos on bass.* I know that Kvarforth has spoken on this topic, but, in your own words, could you please explain how Høstsol came into being and also how **“Länge Leve Döden”* gradually took form? I understand that you wrote all of the music.
Yeah… Me and Niklas often send music we’re working on back and forth between us, so I sent him a demo of the entire album. Like I mentioned earlier, I often make some kind of demo using drum machines and do some crappy vocals myself just to give people an impression of what I’m thinking about… Same thing with this… I had the album “finished,” sent it to him, and he immediately loved it, so we started talking about getting a proper band started and recording it properly… Niklas got the job of “recruiting” the other people. Initially, it was planned to have Hellhammer on drums, yeah, but (according to Niklas) he pulled out… So, Rainer took his place… And I think it was absolutely for the better… Kalmos too came in after Niklas talked with him… I had played some pretty “wild and hysterical” bass on the demo, and he did a really great job “interpreting” my nonsense. I played all the guitars and synths.
The guitars and the synths amaze me every time! The synths have such a cinematic feel, as a lot of your work does. The lyrics to *“Länge Leve Döden” are brilliant and have continued to plague me over the course of this past year. Kvarforth composed most of them in Swedish, but Tuomas Tahvanainen penned the text to the English-language first track, ‘As Seen Through the Eyes of the Prophet.’ What was your reaction to hearing the album’s lyrics for the first time?***
I knew exactly what to expect, so it was no surprise. I loved them from the first moment I read them!
I really appreciate Kvarforth both as a truly inspiring person and an unsurpassed musical genius like yourself. He told “Metallerium” that he has listened to Manes every day for the past 25 years, except when circumstances have prevented him. You noted that you send music back and forth. I’ve also heard Kvarforth mention that, at a certain point, you sent him an MP3 player full of unreleased material that he crafted and recorded lyrics for. Both he and Xasthur’s Scott Conner, another great person, helped you bring some old Manes demo material to life many years ago. Could you perhaps shed some light on your friendship with Mr. Kvarforth through the years? What do you love most about this impossibly endearing character?
My first contact with him was back in the old demo days, I think, and we’ve kept in touch on and off since then, sometimes with years in between, sometimes more often. I think both me and him look at life, not from the same angle, but from the “outside,” maybe… inner demons, not a very positive view on the current state of the world, not really fitting in anywhere, but not really wanting to either? “Like barn leker best” [proverbial meaning: “birds of a feather flock together”], maybe? I don’t know…
“Länge Leve Döden” was mastered by King Diamond’s Andy La Rocque, and the stunning artwork was created by Tuomas Tahvanainen of Cold Prophet. Tahvanainen actually runs The Sinister Initiative together with Niklas Kvarforth, who founded this diabolical entity in order to liberate himself from the chains of incompetent and money-hungry labels. Fortunately, The Sinister Initiative released “Länge Leve Döden” in conspiracy with Avantgarde Music. Please fill me in on the joys of working with TSI!
To be honest, not much different than with other labels. I prefer to stay as much out of the administrative side as possible. As long as people do their side of the bargain properly, everything is fine.
Kvarforth appears on Lethe’s ‘Transparent,*’ which is a haunting track, but there is also some brightness that kicks in. I really enjoyed hearing Kvarforth in that context because he has such a beautiful voice that’s suited to so many types of music. But, of course, your collaborator Anna Murphy is amazing! I believe that you have another Lethe album on the way. What can listeners expect?***
Yeah, I don’t actually remember how that song came to be, if it was him asking or me… Anyway, I was very positively surprised by the result! And I think it fits very well! About Lethe… depends… It’s not metal, more electronic and experimental, trip-hop, but, also, there’s a bunch of distorted guitars! It’s a “bastard”… I have no idea how to categorize it… We got additional help from some amazing musicians and vocalists, but I can’t say much yet. It’s more or less good to go now. The album is mixed and mastered. The cover is almost done. The video and single(s) are being prepared.
Is there anything that we didn’t cover that you would like to discuss?
Never take what I say in public or on the internet very seriously. Personal me and public me are two quite different people… and… I’m glad you didn’t ask what I think about modern black metal…
Find some of Cernunnus’ work below:
- The Sinister Initiative
- Shining
- Manes
- Syning
- Manii
The post TOR-HELGE “CERNUNNUS” SKEI Discusses MANES, MANII, HØSTSOL, SYNING & More appeared first on Sonic Perspectives.
Norway’s Tor-Helge “Cernunnus” Skei is a creative genius whose highly varied body of work has already left what will prove a lasting impact on the music world. Although his elevated output has never been commercially oriented, revered creators like Tsjuder’s Nag and Shining’s Niklas Kvarforth understand the weight of his contributions. The latter stated the following in conversation with *“*From the Bowels of Perdition”: “I’m in eternal debt to Cernunnus as he has played a major part in building my musical legacy…” Indeed, Cernunnus has influenced countless bands.
Cernunnus founded the pioneering brutal, haunting, and ethereal black metal outfit Manes in 1992 as a side project to Atrox. Vocalist Sargatanas soon entered into the fold. Sargatanas and Cernunnus actually began collaborating in Perifa but discovered that they functioned best as a two-piece. Thus, this fabled duo crafted three historic demos — “Maanens Natt” (1993), “Ned i Stillheten” (1994), and “Til Kongens Grav de Døde Vandrer” (1995) — as well as a groundbreaking album — “Under Ein Blodraud Maane” (1999). After a hiatus, Manes emerged with a whole new lineup around Cernunnus and a genre-defying style that might seem radically different to most ears yet shares a definite inner link with the old material. Yes, Manes, an enduring vessel of authentic darkness, has always produced avant-garde art of the highest caliber and utmost integrity.
Of course, both incarnations of Manes can be described as wildly inventive. They are distinguished by their rare and lethally potent magical qualities, all-consuming atmospheres, fearless exploration, lack of limitations, etc. Once gripped by the spirit of Manes, it is, in my view, impossible to break from the spell of this enigmatic entity. That said, Cernunnus has had a variety of other stellar projects over the years, such as the currently active experimental duo Lethe, of which the celebrated Anna Murphy is a part, and the black metal acts Syning, Høstsol, and Manii — a mighty force that arose in 2011 and represents Cernunnus’ creative reunion with Sargatanas.
Between Manii’s “Innerst i Mørket” and Høstsol’s “Länge Leve Döden,” Cernunnus had an absolutely incredible year. In the black metal world, he put all but his bandmates and a couple of other esteemed voices to shame. However, it would be impossible to properly sing Cernunnus’ praise given the transcendent nature of his art. Thus, without further ado, we present the results of our discussion with the master himself.
This September, you unleashed the sublime masterpiece that is Manii’s *“Innerst i Mørket,” which *“MetalSucks” rightly gave a 5/5. Of course, I adore the album and believe that it represents a very special moment for black metal. Could you please take me through the creative process for this effort in terms of composing both the music and the lyrics?**
Thanks. The process wasn’t very different from the usual way I make music, really. I make small bits and musical pieces, all kinds of forms and styles, all kinds of instruments or source material all the time, always in create-mode, very seldom in consume-mode. Once in a while, a collection of these “sketches” (as I call them) feels like it kind of belongs together, and I begin working with it as a unity, as one thing. Up until this, it can be riffs, simple synth chords, samples, cut-up loops, or field recordings… anything, really. But as soon as the various ideas have a “purpose,” I rebuild much of it from scratch, turn synth parts into riffs, remove samples, write lyrics, etc. to shape it into whatever it wants to be.
Each band or project additionally has its own “flavor,” its own mood or sound… something that belongs to that project or band. Manii has this mental thing, where I need to be in a certain mood when creating states, which usually isn’t very pleasant to be in for longer periods of time, so I tend to work in short but intense bursts.
Never liked to talk about lyrics. They’re there to create a mood, an atmosphere, to enhance and add to the music.
I would like to note that Sargatanas gave what I believe was the year’s greatest black metal vocal performance, besides those of Niklas Kvarforth and Vicotnik, on “Innerst i Mørket.” Obviously, you and Sargatanas forged Manes’ classic and highly influential black metal content together. Is there anything that you would like to say about the evolution of your musical partnership with him?
I joined Perifa for a while when he was singing, and he followed me over to start Manes. He totally understands what I want with the music, and I know exactly what he wants to do with the vocals, how he will be singing on riffs. It’s a perfect match. We don’t really have to talk much about it or discuss how things should be done. It just fits perfectly. It’s been over 30 years, so, naturally, things have changed: the sound of his voice, how we record, what we want to do and express… But I think it has continually evolved for the better!
For the first time in Manii, you were joined on drums by Whoredom Rife’s V. Einride, a fantastic fellow Trondheim-based artist. Whoredom Rife has covered Manes’ “Maanens Natt.” I also know that you and V. Einride work together in Syning along with Levninger of Knokkelklang and Askeregn. Thus, I assume that there’s much understanding between the two of you. He added the perfect touch to “Innerst i Mørket.” How was the experience of collaborating with V. Einride on the album?
Bornyhake played drums on the second album (The first was a drum machine.) and the ‘Skuggeheimen’ single, and he did a great job, absolutely! But it’s so much easier to work with people living in the same place as you, and, also, the new material needed a little bit different drum style. So, Ole suggested V. Einride for the new album, and I thought it would be perfect…
And it was/is… By the way, I have played with V. Einride before… a long time ago… back when Keep of Kalessin were interesting (ouch), I played guitar for them at a gig here in Trondheim.
How was *“Innerst i Mørket” recorded? Was any of it done live?***
It was recorded in my own “facilities” (i.e. my living room), except vocals and drums, which were done at V. Einride’s place… We did it separately… First, I did the demo, as always, with drum machines and my own crappy “vocals.” Then V. got a version with the drums replaced with just a click, or cowbell or something, to keep the timing during the ambient and floating parts… And he recorded the drums and sent back the separate tracks. Then me and Sarg went to V.’s place a couple of times and recorded all the vocals. Then I took everything home and started mixing, replacing synths, re-recording guitars and bass, did some “mastering,” etc.
Both Manii and Syning are signed to the legendary Terratur Possessions, which I believe to be the top black metal label besides The Sinister Initiative. Terratur is, of course, the brainchild of Ole A. Aune, who assisted with Manes’ magnificent “Ihjelbrent Skatt” (2022) box set, the die-hard version of which includes material from your former zine, *“Stigma Diabolicum.” Could you kindly tell me about working with Aune — one of the most important figures in the black metal community?***
Smooth and easy. Not much nonsense, no soaps with logos, or action dolls. He’s been very supportive and, actually, was quite an important part in getting me motivated to make more “obscure” music again.
I really love Syning. I do want to emphasize that Levninger is a criminally underrated talent: Some believe that Knokkelklang’s *“Jeg Begraver” (2018) is one of the greatest black metal records ever made. *“Syning” (2021) is no less excellent. I’ve read that Syning came about naturally, but I was wondering: What was the black spark that inspired it?**
I had a couple of quite long tracks that I wasn’t sure what to do with and sent them to Ole. (I often send bits and pieces of music around to different people.) We started talking a little about it, and since I had just told him how much I loved Knokkelklang, he suggested Levninger for the vocals (and acoustic guitars)… And V. was perfect for the drums. I originally thought of it as a Manii album, but I felt it had a bit different feel to it, less mental, a different kind of grimness, so it had to become something different.
As far as Manes is concerned, I know that you’ve completed a new record, which, I assume, will be coming out at some point via Debemur Morti Productions. I’m really excited to hear it! Is there anything that you would like to share about it or any of Manes’ other future plans in advance?
Manes has turned into this slow-moving behemoth, always taking far too long between releases. The last few years messed up more things, but we didn’t stop making music. We have a bunch of stuff more or less finished now. We have this remix album that should have been released just after “Slow Motion,” but then the pestilence came, then the Russia thing… Maybe we will just post it on the net somewhere just to have it out and available.
We have a new album that is currently being mixed, and we just started on a single/EP series that you will hear more about early next year. The album will not be released by Debemur Morti… Lethe was also signed there for the first album, which they did a great job with… But they did things I can’t accept, so I’m not working with them anymore. We are looking around… Some interesting proposals and possibilities have popped up, but we will finish the album on our own terms first and then start talking with labels… maybe think about licensing instead of a trad “deal”… or something… who knows?!
I’m really fascinated by your Manes bandmates. Asgeir Hatlen has an absolutely incredible and bewitching voice. Torstein Parelius is a filmmaker and great mind. Rune Hoemsnes and Eivind Fjøseide are also terrific. What would you like our readers to know about your experience working with this outrageously talented group of people?
It’s an “eclectic” mix of people, yeah… Different backgrounds, different opinions, very different musical tastes, different ways of working and thinking… Kind of strange that we have kept together for more than twenty years now since we’re so very different, but maybe this contrast or friction is what makes Manes what it is.
Manes’ *“Slow Motion Death Sequence,” one of my favorite albums, turned five this year. In addition, as you more or less just noted, the equally phenomenal “Vilosophe” celebrated its twentieth anniversary. “Vilosophe” was your groundbreaking first non-black metal release, though you had been experimenting with electronics long before its unveiling. The album received stellar reviews right away. For example, Germany’s “Legacy” correctly gave it a 15/15. Are there any memories that you would like to share from the time period surrounding “Vilosophe”?***
Yeah. Lots of people were soooo disappointed, calling us sellouts and whatnot, as we expected. For quite a long time, we did think about finding a new name… But, well, who cares?! It’s just a name. People will associate it with whatever they want anyway.
I had just moved back from Oslo, where I had been living for a year and a half (programming graphics for video games) and was completely disillusioned with music and everything and had no idea what I wanted to do… Started talking with a few people, showing them some of the ideas I had been collecting during the last few years. We added some of the others’ ideas, and it kind of grew naturally… And it morphed into (neo-)Manes. We recorded it in Skansen here in Trondheim in quite a short time, a week or so, I think, or maybe two. During this, we also played some gigs, and after the album, we did a round of festivals, playing at some of the (at that time) major metal festivals in around Norway… to some surprised reactions from the metal crowd that didn’t know that we were a bit different than before.
Høstsol’s debut, “Länge Leve Döden,” which officially dropped on January 13 and earned a 10/10 from “Metal Injection,” is yet another one of my most highly regarded albums of all time. Høstsol is, of course, a supergroup that features you on guitars; Shining’s Niklas Kvarforth on vocals; ex-Shining and Ajattara’s Rainer Tuomikanto, who replaced Mayhem’s Hellhammer on drums; as well as ex-Barathrum and Ajattara’s Kalmos on bass.* I know that Kvarforth has spoken on this topic, but, in your own words, could you please explain how Høstsol came into being and also how **“Länge Leve Döden”* gradually took form? I understand that you wrote all of the music.
Yeah… Me and Niklas often send music we’re working on back and forth between us, so I sent him a demo of the entire album. Like I mentioned earlier, I often make some kind of demo using drum machines and do some crappy vocals myself just to give people an impression of what I’m thinking about… Same thing with this… I had the album “finished,” sent it to him, and he immediately loved it, so we started talking about getting a proper band started and recording it properly… Niklas got the job of “recruiting” the other people. Initially, it was planned to have Hellhammer on drums, yeah, but (according to Niklas) he pulled out… So, Rainer took his place… And I think it was absolutely for the better… Kalmos too came in after Niklas talked with him… I had played some pretty “wild and hysterical” bass on the demo, and he did a really great job “interpreting” my nonsense. I played all the guitars and synths.
The guitars and the synths amaze me every time! The synths have such a cinematic feel, as a lot of your work does. The lyrics to *“Länge Leve Döden” are brilliant and have continued to plague me over the course of this past year. Kvarforth composed most of them in Swedish, but Tuomas Tahvanainen penned the text to the English-language first track, ‘As Seen Through the Eyes of the Prophet.’ What was your reaction to hearing the album’s lyrics for the first time?***
I knew exactly what to expect, so it was no surprise. I loved them from the first moment I read them!
I really appreciate Kvarforth both as a truly inspiring person and an unsurpassed musical genius like yourself. He told “Metallerium” that he has listened to Manes every day for the past 25 years, except when circumstances have prevented him. You noted that you send music back and forth. I’ve also heard Kvarforth mention that, at a certain point, you sent him an MP3 player full of unreleased material that he crafted and recorded lyrics for. Both he and Xasthur’s Scott Conner, another great person, helped you bring some old Manes demo material to life many years ago. Could you perhaps shed some light on your friendship with Mr. Kvarforth through the years? What do you love most about this impossibly endearing character?
My first contact with him was back in the old demo days, I think, and we’ve kept in touch on and off since then, sometimes with years in between, sometimes more often. I think both me and him look at life, not from the same angle, but from the “outside,” maybe… inner demons, not a very positive view on the current state of the world, not really fitting in anywhere, but not really wanting to either? “Like barn leker best” [proverbial meaning: “birds of a feather flock together”], maybe? I don’t know…
“Länge Leve Döden” was mastered by King Diamond’s Andy La Rocque, and the stunning artwork was created by Tuomas Tahvanainen of Cold Prophet. Tahvanainen actually runs The Sinister Initiative together with Niklas Kvarforth, who founded this diabolical entity in order to liberate himself from the chains of incompetent and money-hungry labels. Fortunately, The Sinister Initiative released “Länge Leve Döden” in conspiracy with Avantgarde Music. Please fill me in on the joys of working with TSI!
To be honest, not much different than with other labels. I prefer to stay as much out of the administrative side as possible. As long as people do their side of the bargain properly, everything is fine.
Kvarforth appears on Lethe’s ‘Transparent,*’ which is a haunting track, but there is also some brightness that kicks in. I really enjoyed hearing Kvarforth in that context because he has such a beautiful voice that’s suited to so many types of music. But, of course, your collaborator Anna Murphy is amazing! I believe that you have another Lethe album on the way. What can listeners expect?***
Yeah, I don’t actually remember how that song came to be, if it was him asking or me… Anyway, I was very positively surprised by the result! And I think it fits very well! About Lethe… depends… It’s not metal, more electronic and experimental, trip-hop, but, also, there’s a bunch of distorted guitars! It’s a “bastard”… I have no idea how to categorize it… We got additional help from some amazing musicians and vocalists, but I can’t say much yet. It’s more or less good to go now. The album is mixed and mastered. The cover is almost done. The video and single(s) are being prepared.
Is there anything that we didn’t cover that you would like to discuss?
Never take what I say in public or on the internet very seriously. Personal me and public me are two quite different people… and… I’m glad you didn’t ask what I think about modern black metal…
Find some of Cernunnus’ work below:
- The Sinister Initiative
- Shining
- Manes
- Syning
- Manii
The post TOR-HELGE “CERNUNNUS” SKEI Discusses MANES, MANII, HØSTSOL, SYNING & More appeared first on Sonic Perspectives.
Celebrating twenty years of existence, Baroness released their critically acclaimed sixth album, “Stone”, on September 15, 2023. As discussed in our review (which can be read here), this is one of their most cohesive pieces of work, although there’s plenty of room for experimentation. And obviously, now is the time to promote “Stone”, and showcase it to the world.
Entitled “Sweet Oblivion Tour”, this run of dates consists of more than 30 shows in 49 days. A gruesome schedule, but one which doesn’t seem to scare John Dyer Baizley (lead vocals, rhythm guitar), Gina Gleason (lead guitar, backing vocals), Nick Jost (bass, keyboards), and Sebastian Thomson (drums). The band still finds time to do store appearances on selected dates, where they do a short acoustic set and sign copies of the album.
In the heart of Toronto’s vibrant music scene, Sonic Perspectives collaborator Rodrigo Altaf had the unique opportunity to sit down with two of the driving forces behind the critically acclaimed band Baroness. Backstage at the iconic Danforth Music Hall on November 19th, the anticipation in the air was palpable as he caught up with Nick and Sebastian.
As the stage lights prepared to illuminate another unforgettable performance, they delved into the inner workings of Baroness, exploring the creative process, the evolution of the tour, and the raw energy that fuels their live shows. Join us as we go behind the scenes and unravel the sonic tapestry woven by these two exceptional musicians, offering a glimpse into the musical journey that has captivated audiences worldwide.
Listen to their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard, and Twitter or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post Rhythmic Revelations: A Backstage Encounter with BARONESS’ Bassist NICK JOST and Drummer SEBASTIAN THOMSON appeared first on Sonic Perspectives.
Released under the moniker of Jelusick, the debut album of the band comprised of singer Dino Jelusick, guitarist Ivan Keller, bassist Luka Roderick, and Mario Lepoglavec on drums has impressed the metal community recently. Many music websites have listed “Follow the Blind Man” as a strong candidate for album of the year.
The diverse tracklist includes many twists and turns: from the high-octane of “Reign of Vultures” and “Acid Rain” through the soulful moments of the title track and “The Great Divide”, the album is a journey powered by musical prowess, but also fueled by soul and swagger. It ends with the fast-paced “Chaos Master” followed by the heartfelt “The Bitter End”, leaving the listener curious about the next steps of this band.
In an exclusive interview with Sonic Perspectives collaborator Rodrigo Altaf, Dino delves into the creative process behind “Follow the Blind Man.” They discussed the formation of the band, his big break as the winner of Junior Eurovision 2003 when he was only ten years old and much more. Listen or watch their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard, and Twitter or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post DINO JELUSICK Discusses Debut Album “Follow The Blind Man” By His Band JELUSICK: “This Is Not Intended To Be My Solo Record, We Are A Full-On Band” appeared first on Sonic Perspectives.
*Europe has recently released its new single, “Hold Your Head Up,”* ahead of a 2024 documentary film about the band’s meteoric rise to becoming one of the greatest rock bands in history.
The song is a vibrant rocker reminiscent of their early hits and captures Joey Tempest [vocals], John Norum [guitars], John Levén [bass], Mic Michaeli [keyboards], and Ian Haugland [drums]continuing to be one of the most influential forces in rock music today. It was produced by Klas Åhlund (Ghost) and mixed by Stefan Glaumann (Rammstein, Def Leppard), who also mixed *Europe‘s “Secret Society” album. To purchase “Hold Your Head Up” head over here*.
*Europe plans to head to the studio this winter to pull their song ideas and riffs together for a new album due out in late 2024 / early 2025. It will be their 12th and first studio album in five years since “Walk the Earth.”*
The brand-new documentary entitled “Europe – The Movie” will tell the story of the band, from formation until the present day, telling of their rise to success in the mid-’80s, through hard times and heartache, to coming back in the millennium and the current successes the band has achieved.
Correspondent Robert Cavuoto spoke with Joey Tempest moments before they hit the stage at The Palladium in London last month for their second to last show of their Time Capsule, 40th Anniversary Tour. Joey shared how the band has been compiling song ideas and plans to go into the studio this winter. He also discusses content fans can expect to see in the documentary and reminisces on their heyday of the 80s when they were besieged in the street and the on-stage mishap that led to enlisting Mic Michaeli to handle the keyboard duties in 1984. Listen or read the transcript of their conversation below.
INTERVIEW TRANSCRIPTYou are playing at The Palladium tonight in London, a show for your Time Capsule 40th Anniversary tour. It must be close to show time.
It is only an hour and a half from showtime, so it’s getting exciting. We are on this 40th-anniversary tour of 21 shows. It’s going so well, and I’m excited about playing in London. It’s a hometown gig for me, as well as Stockholm. I have two hometown gigs!
We spoke in 2017 for “Walk the Earth”, so getting some new music from the band has been long overdue. It’s a great song, and we are excited about it.
Thank you, we are pleased about it. We made it in the studio this summer before the tour kicked off. Since we weren’t touring during the pandemic, I was collecting ideas, and this is the one I felt strongly about. I sent it to the guys, and they all liked it and wanted to work on it. We managed to quickly get it done in a few days.
I read you will be putting out a documentary in 2024. I wondered if the new song “Hold Your Head Up” is a retrospective tribute to the band’s career that will be used in the film?
We are featuring the song in the documentary. It just came together that way, and it’s a good observation! It was luck that the song tied it all together. Early in the documentary, you see us in the studio today, but then you get transported to the suburbs of Väsby when we were teenagers dreaming of becoming a touring band and coming up with the band’s name. We also found old footage on VHS tape from hotel rooms and recording studios. We had more material than we initially thought. It all formed into a really good story at the end of the day. We are in the final stages of completing it, and it’s almost there. It will probably come out in early 2024.
Will it be available on a streaming platform or for a theatrical release?
We are involving people to get that together to find the most interesting scenario for it. It could be all of those aspects you mentioned. It will be a serious thing that we want fans to be able to see it. It’s a great story about the era.
There’s also a new album in the works for late 2024 / early 2025. How deep are you into writing and recording it?
We talked about that last week. We have some ideas. One was “Hold Your Head Up,” so we are not entirely starting from scratch. We think this winter, we will pull all the ideas together and send them to each other. If we are lucky, we can get it out, like you said, later next year or early 2025. We are looking forward to recording it. It’s been a while since Walk the Earth in 2017, which was recorded in Abbey Road Studios.
When you go into the studio, do you have all the songs fleshed out, or do you prefer to be more spontaneous in creating songs as a band?
We like to be very well prepared! We like to leave a few things in the air, like breaks, intros, or maybe a song that is less than 100%. We want to be rehearsed on 10 to 15 songs before we enter the studio. That’s the kind of band we are! Sometimes, we can be a bit lazy and write in the studio, depending on the producer. When we have worked with Dave Cobb, he is a good writer; he can join in on a bridge or intro, which works well because we know him. Sometimes, we can write one song in the studio.
I know you are still working on the songs, but will the album have any unexpected moments that Europe is famous for and fans can look forward to?
You sound familiar with the band, and we always like to take fans on an adventure. “Hold Your Head Up” has some punch to it with some old Europe metal edge to it while feeling modern. I have a few ideas that are a bit different to share with the band yet, so there will be some exciting stuff.
Will you be coming to the US to tour in support of the album when it does come out?
Yeah, I hope so! Our management company is in California, so we have an agent who is always looking. As you know, we were supposed to go to the US in 2020 on a major two-and-a-half-month tour, and it didn’t happen because of everything that went on in the world. We have been looking ever since, and it’s about finding the right scenario, band to go with, or package tour. We could look into going back to all the House of Blues venues again. It’s really important for us to get back to the US, and I hope it’s soon!
You’re an expressive lyrist who can paint pictures in people’s minds and a terrific storyteller writing about positivity and hope. What do you think is your biggest strength as a songwriter?
That’s an interesting question. I don’t know where it comes from, but I know my Mom has always been a very positive soul! I have some of her thinking on that aspect; there is always hope, and there is always light! That sentiment always creeps in even when we write about a tragic event in the world. It’s just the way I am, I suppose. That doesn’t stop us from finding issues that are more serious. At the end of the day, it’s music, and it’s Rock & Roll. I have never gone down the road to do a serious album about a theme. We started in that direction for the “Walk the Earth” about where democracy went [laughing], but halfway through, we realized we are a rock band! There are a few things in there that make you think a bit more.
With that thought in mind, what inspired you lyrically when you first started Europe, and what inspires you now?
You get older, and you start thinking about everything that you have experienced. You have a late-career and an early career, so you can look at things in relation to each other with more depth. You read more and write more music as you evolve. I like to anchor lyrics in reality more than the first album when we were 18 years old. It was cool when it sounded cool, and that was it [laughing]! My Dad passed away, and when I wrote the lyrics to “Hold Your Head Up,” I remember him telling me, “Get up; I know you can do this!” That was the thought behind that song, but I’m sure the album will have new songs anchored around the band, my life, or what is happening around the world. I think that is how you evolve; you tend to write about things that are important to you.
Are you always inspired to create music?
Yes, I think about music every day and listen to music every day. I play guitar and keyboard almost every day, depending on what I’m doing or if I’m traveling. It’s been part of my life since I was 6 or 7. There was always an instrument at home. My sister had a guitar and piano, and she didn’t continue, but I did. I like to express myself musically, and it makes me feel good to write and think of new ideas. I collect lyrics and melody lines all the time.
Keeping the documentary in mind with the history of your career, what are one or two key attributes that you feel have carried Europe through all the ups and downs of the music business and challenges the band faces on a daily basis?
The main thing is that we are all from the same place. We used to watch concerts together, we rehearsed together, and we partied together in those days. We went to different schools, but we were still connected with friends and watching each other’s bands. That is one of the things that we really appreciate after all these years. The band is like one soul with five different elements. It carries us now as the egos have calmed down, so there are no major fights. We feel lucky that we have each other and have this job. In the realm of music, we are all in agreement with the same artists and music styles. That means there will never be a major issue with choosing or writing songs. We are in the same world musically, so there will never be disputes going down with our musical roots. Some bands break up citing musical differences; wow, how is that possible? In a band that has been together a long time, it’s difficult to cite that as a reason. It comes down to the fact that we have so much in common regarding music, direction, and playing live.
Growing up in the 80s and listening to your music was a magical time. Is there anything worth reliving from the 80s?
They were great moments and tough moments, too. There were things we didn’t like to do, like perform on the family TV shows. We didn’t want to keep doing it, and some of us hated it more than others. There are elements from when we started to become one of the biggest bands in the world: going through cities like Rome, Paris, Los Angeles, New York, and Tokyo and experiencing it together, then going out to clubs after the show, we felt on top of the world. That feeling is there! There were a lot of playback sessions and lots of travel when we wanted to be on the road instead [laughing]. We had the down period when Grunge came in. The band went home to Stockholm only to find that some of the members realized they had less money. It was tough for some of the guys for a while. We met each other again and wanted to help each other and carry each other. Now we are together longer than on the first run. It’s about communicating and having the same goal of working together.
That’s a testament to your friendship.
Yes.
When you were on tour in the 80s, was it like Beatlemania when you rolled into a new city?
It was! In Rome, we had to sneak out of a big church when people started recognizing us. We couldn’t go on the streets in Europe for a while. Being in cars to go to and from the shows was almost impossible. Some of the stories are in the documentary. It was out of control for a while [laughing]. It was cool to go through it, it was all a good thing. People were just wanting a piece of us [laughing].
On the first two albums, you played keyboards, and then on the third, you brought in Mic; tell us about the decision to transition to having a fifth member.
There was an early moment in Europe‘s career when I played keyboards on stage. I had a bad experience when the keyboard broke down, and I was standing there with the keyboard misfiring and sounding weird. It was one of those decisions that I’m not going to go down this road again! Even though I played keyboards on the first two albums, in the back of our minds, we wanted to have that extra band member. Mic was a friend from school who was in a band, Avalon. He was the one who lent me a keyboard in college and wrote the “The Final Countdown” on. We were connected in that sense, and he was the only guy in school who had a keyboard [laughing]. Later on, we remembered him. He was still part of the music scene and played in different bands, and one of his bands opened up for us. We went to ask him, and he pretended to be cool about it; inside, he was like, “Yes! Yes! Yes!” He wanted to be in a touring band. So, in 1984/1985, everything kicked off with this line-up we are still with today.
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Retracing where the primordial, hard rock adjacent origins of heavy metal ended and its more extreme cousin began is a fairly subjective and complex proposition, and few are more qualified to do so than one of the latter musical movement’s proverbial founding fathers Thomas Gabriel Fischer, better known to the masses today as Thomas G. Warrior.
As the guitarist and one of the principle vocalists of early 80s death metal trailblazers Hellhammer, his career stood at a crossroads between the gritty yet still hard rock oriented world of Black Sabbath and Motörhead and the slightly nastier and darker NWOBHM associated stylings of Venom, helping to pave the way for the eventual the more extreme expressions of thrash, death, black and even sludge metal on both sides of the Atlantic. Even in a 2023 context, the iconic riffs and sepulchral subjects that burst forth from this underground trio’s small smattering of demos alongside an EP and a single still hold up and speak to a vision that was well ahead of its time.
Yet behind these lofty accomplishments is a man who has a humbler take on things, recounting a band that simply made music on their own terms, bucking every trend during their relatively short run in the 80s and often being seen as outcasts in their home nation of Switzerland. Thomas often recounts playing shows in small venues to maybe 10 or more onlookers as a frequent occurrence during Hellhammer’s run from 1982 to 1984, as well as being at the receiving end of numerous jokes due to the unorthodox nature of what they were bringing to the table.
Triumph Of DeathEven upon the dissolution of the band and the formation of the more polished and refined Celtic Frost, this marginalized artist and his musical cohorts would ultimately seek greener pastures in Germany for label support and an audience. But there remains an unmistakable mystique surrounding the small and lo-fi catalog connect to the Hellhammer name that has continued to inspire many, including The Warrior himself as his spin-off/tribute to the original band Triumph Of Death embarks on further touring since their 2018 inception.
In stark contrast to the arguably sloppy and amateur character of the source material, there is an air of professionalism surrounding Triumph Of Death’s approach to recreating the Hellhammer sound in a live setting. Thomas credits some of this to his growth as a musician over the past 40 years, as well as to the highly competent group of musicians that round out the fold, consisting of drummer Tim Iso Wey, bassist Jamie Lee Cussigh, and particularly the addition of guitarist/vocalist Andre Matheiu, resulting in an arrangement that is markedly fuller and larger in scope than the power trio format of the original.
In many ways, Fischer considers it a different band due to the greater professionalism that has resulted from the aforementioned factors, yet he stresses in no uncertain terms that the primary goal of the band is to faithfully recreate what Hellhammer originally set out to do. It is a sound that could be likened to what Hellhammer might have sounded like had they rerecorded their work during the early 90s death metal explosion in Florida and Sweden and then adding crowd noise for good measure.
“Resurrection of the Flesh” Album ArtworkThough a man that is often surrounded in a dark cloud of moribund mystery in the media and prone to sardonic humor, Thomas G. Warrior retains his affable qualities and continually proves a veritable wellspring of knowledge on how things were in the days when metal was considered the most dangerous music around. Our contributor Jonathan Smith caught up with the iconic guitarist and vocalist to discuss Hellhammer’s place in metal history, and among other things settling the longstanding dispute as to whether the death, thrash, black, speed or sludge metal sub-genres could truly lay claim to their legacy (Tom decisively places his band’s pioneering work in the death metal camp, while acknowledging the massive changes the style has gone through in the years since).
But above all else, the conversation was focused upon the soon to be released live album “Resurrection Of The Flesh”, which is sure to stand as the closest thing to a proper studio LP that will ever be released under the Hellhammer name.
Listen or watch their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
“Resurrection Of The Flesh” will be available as:
- Deluxe CD mediabook
- Double gatefold LP w/booklet and posters on black vinyl and B&W swirl (indie store exclusive)
- Super deluxe double red vinyl LP bookpack with bonus 7” single plus posters
The post TOM G. WARRIOR Of TRIUMPH OF DEATH Discusses Live Album “Resurrection Of The Flesh”: “We Really Tried To Be True To What HELLHAMMER Was” appeared first on Sonic Perspectives.
Pete Evick, guitarist and musical director for the Bret Michaels Band, has just released an autobiography entitled “MTV Famous”. His book chronicles the trials and tribulations of his 30-year career in the music business, from playing in cover bands in local bars, owning a recording studio, networking with countless celebrity musicians, and playing in front of hundreds of thousands of fans with one of his childhood heroes turned best friend, Bret Michaels.
“MTV Famous” is not your typical autobiography of embellished memories from days of drunken excess; Pete‘s book takes a more positive look at life and how he dreamed bigger for his career than most. There was a consorted effort to provide an open and honest look at his life and career without slamming or minimalizing people’s involvement but to praise and thank them. Not only is it a Rock and Roll book, but Pete delves into how candling-making helped pull him out of the dark recesses of depression, which he has grown into a successful independent retail business with an online presence and several brick-and-mortar stores. He has released his own single-barrel Bourbon and shares for the first time in my interview that he has just launched the Virginia Sauce and Spice Company. To order “MTV Famous”, please visit THIS LOCATION.
“MTV Famous” Book CoverCorrespondent Robert Cavuoto had a candid and fun conversation with Pete on how playing cover songs helped him be a better songwriter, guitarist, and musical director for Bret, that he never deviated from his dreams, how his first performance with Bret Michaels was in front of 50K people with little to no band rehearsal, and why he hasn’t given Bret a copy of his book.
Listen or watch their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post PETE EVICK Of BRET MICHAELS BAND Reflects On New Book “MTV Famous”: ‘I Only Ever Dreamed of Being on Stage Playing Guitar’ appeared first on Sonic Perspectives.
Formed in 2002 to spread their majestic metal in the likes of Stratovarius, Sonata Arctica, and Symphony X, Theocracy released four critically acclaimed studio albums, building a loyal fanbase as well.
For more than 20 years, Matt Smith has been pouring his life blood into *Theocracy, creating a legacy and back catalog that grants him a safe space to breathe and develop his vision. Seven years ago, Theocracy came out with their tour de force album, “Ghost Ship”*. It’s filled with punch and hooks. And per usual, it’s a record about faith and its many aspects. And then…nothing.
For seven long years. Perhaps that was the biblical seven years of famine. But that time is at an end. The new *Theocracy album called “Mosaic” will be out on October 13 via Atomic Fire Records*.
“Mosaic” Album ArtworkAs brilliantly showcased by its stained-glass-window-like artwork by Steven Howard, “Mosaic” contains 10 new hymns were recorded, produced, and mixed by Matt Smith at Theocracized Studios and Full Moon Studios in Athens, GA, and rounded off by skillful mastering engineers Emily Lazar and Chris Allgood at The Lodge, NY.
“It’s my life’s work,” says Smith when talking about the band. “All I wanted to do since I was a kid was writing songs, so Theocracy existed in my mind for many years before the first album. It’s the vehicle that has taken me all around the world and allowed me to exceed my wildest dreams by getting my songs out, and I am so thankful.”
Smitt recently sat down with Mark Boardman and the two discussed the inception of “Mosaic”, the band’s past, their arrival to a new label, the album’s lyrical themes and much more. Watch or listen to their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post MATT SMITH Discusses New THEOCRACY Album: “I Thank God For The Opportunity To Do This One More Time, When I Think It Wouldn’t Happen” appeared first on Sonic Perspectives.
Long before he joined Yes, Trevor Rabin was a superstar in his native South Africa with the band Rabbit. Moving to London and eventually to Los Angeles in order to break out to a wider audience, it was several years and solo albums before the pieces came together to form a new band Cinema with Chris Squire, Alan White and Tony Kaye. When Jon Anderson entered the picture, the pressure from record execs to recapture the *Yes name was too great, and Rabin found his new band had morphed into an old band, albeit a re-invented version. Several chart-topping hits later, Rabin was seen by many as the man who had saved Yes* in the 80s, but his ambitions continued to progress.
Starting in the 90s, *Rabin would switch careers to scoring Hollywood blockbuster film soundtracks, a world which consumed him for decades. Aside from a brief pause to record the instrumental genre-hopping “Jacaranda”, Rabin didn’t dabble in the rock world much until 2016’s reunion with Jon Anderson and Rick Wakeman for a series of live shows featuring Yes music. 200 concerts later, Rabin’s voice and fingers were primed to record his first solo rock album since 1989’s “Can’t Look Away”.*
The resulting album “Rio” is jam packed with fretboard frenzy, multi-tracked harmony vocals, masterful production and an extremely diverse range of styles. It’s a wonderful release, both a return to form and a stab at breaking new ground all at once.
“Rio” Album ArtworkIn this engaging interview with *Rabin, Sonic Perspectives correspondent and Yes-aficionado Scott Medina goes into “Rio” in depth, giving a greater perspective on the inspiration and arrangement approaches. There are also several questions and stories involving Yes over the years, along with Rabin’s time with Roger Hodgson, as well as inquiries about ARW’s recorded output – live and studio. A guaranteed fun time for all fans of Rabin*!
Listen or watch to this in-depth interview below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, YouTube, Instagramand Flipboard, where you can be notified about new content we publish on a daily basis.
Trevor Rabin Discusses His First Solo Album In Nearly 30 Years, Plus Stories Of *Yes*, ARW And More!The post Watch In-Depth Interview With TREVOR RABIN, Discussing His First Vocal Solo Album In 34 Years, Plus Stories Of YES, ARW And More appeared first on Sonic Perspectives.
Michael Anthony Mangini started playing drums when he was two and a half years old, inspired by Ringo Starr. Although he quickly became very proficient in his instrument, he put it aside for a few years, to pursue a computer science major at Bentley University. It would take him a few years to get his big break into the mainstream, and that came in 1991, when he joined the prestigious Canadian thrash metal band Annihilator.
Following a tour cycle with Annihilator, Mangini played with hard rockers Extreme and spent a few years in Steve Vai’s band, having appeared on the studio albums “Fire Garden” and “The Ultra Zone”, and in the live album “Alive in an Ultra World”. In 2005, he accepted a full-time teaching position at the Berklee College of Music in the Percussion Department, but five years later his career would literally undergo a dramatic turn of events. He was selected to join Dream Theater in 2010, after an audition that also included Marco Minneman (The Aristocrats), Virgil Donati (Planet X), Aquiles Priester (Angra, Hangar), Peter Wildoer (Darkane, James LaBrie), Derek Roddy (Hate Eternal, Nile, Today Is The Day) and Thomas Lang (Glenn Hughes, Stork among others).
With Dream Theater, Mike has released five studio albums so far, and recently completed a successful run of shows with Animals as Leaders and Devin Townsend. As the end of 2023 approaches, he’s ready for his most ambitious musical step to date – the release of his first solo album, “Invisible Signs”. The twelve songs on the album showcase a different side of Mike’s musical abilities, with a modern metal edge and perhaps a more straightforward approach to drums than the average Dream Theater fan is used to. He wrote all lyrics to the album, and counted on the help of Jen Majura (formerly of Evanescence) on vocals an a few guitar solos, Tony Dickenson (Trans Siberian Orchestra) on bass, Gus G (Firewind, Ozzy) on lead guitar and Ivan Keller (Dino Jelusick’s band) on rhythm guitar. Some of the highlights of the album include the title track, “Freak Of Nature” and “Habit To Change”.
Sonic Perspectives collaborator Rodrigo Altaf is a lifelong Dream Theater fan, and had the chance to sit down with Mike Mangini for a lengthy interview, discussing his solo album, Dream Theater upcoming plans, his past work with Extreme and Annihilator and much more. Listen or watch to their all-encompassing interview below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, YouTube, Instagramand Flipboard, where you can be notified about new content we publish on a daily basis.
MIKE MANGINI discusses the diverse approach in his upcoming solo album “Invisible Signs”The post MIKE MANGINI Discusses Diverse Approach In His Upcoming Solo Album “Invisible Signs”: ‘Why Would I Try To Make DREAM THEATER Like Music Outside The Band?” appeared first on Sonic Perspectives.
Brother Cane‘s long-awaited return is over, as the band will be heading out on a US tour to commemorate their 30th Anniversary. The tour will kick off on October 26th in Woodstock, GA, and continue through December 2nd in Memphis, TN.
In addition to the tour, on October 20, 2023, their 1993 self-titled debut album will be reissued on vinyl and CD. The band will include two new songs, “Blinded By the Sun” and “Are You In There Anymore,” as 7-inch singles with longtime collaborator and multi-platinum producer Marti Frederiksen. These songs fit perfectly into Brother Cane‘s vast catalog, with the band delivering vibrant, melodic music with an edgy Southern hard rock bite. Brother Cane are paving the way to recreate powerful classic rock.
The band – Damon Johnson [vocals/guitar], Glenn Maxey [bass], Jarred Pope [drums], Buck Johnson [keyboards], and Tony Higbee [guitar]– have an undeniable chemistry and are destined to please on tour. Visit HERE for tickets and more information.
Correspondent Robert Cavuoto spoke to Damon about the impetus for reforming the band, how they recaptured the energy and enthusiasm of the band’s legacy on the two new songs, his guitar approach for making music with Brother Cane, and what fans can expect to hear during their live shows. Listen to their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post DAMON JOHNSON Of BROTHER CANE Talks Long-Awaited Reunion: “The Band Has Always Held a Spiritual Place in My Mind” appeared first on Sonic Perspectives.
Drummer Simon Phillips remains one of the busiest musicians on the planet. Having just released a live album with acclaimed keyboard player Derek Sherinian, he relentlessly continues to work as a producer, a session musician, and a band leader.
Having started his career in 1969, Simon has worked with Jeff Beck, Gary Moore, Michael Schenker, Judas Priest, Tears for Fears, and Pete Townsend, among others. Perhaps he’s best known for his tenures with The Who and Toto, but a closer look reveals a wide array of collaborations and styles in his extensive discography. Last year saw the release of “Protocol V”, a jazz-fusion collaboration that had many members in its history, but with Simon as a constant. More recently, he played drums on the self-titled debut of the supergroup Kings of Mercia, and on Steve Lukather’s solo album “Bridges”.
When it comes to “Sherinian/Phillips Live”, the album solidifies the collaboration between the two musicians, which has grown stronger since 2020. They have collaborated before, on albums such as 2001’s “Inertia”, 2004’s “Mythology” and more, and recruited Ron “Bumblefoot” Thal on guitar and Ric Fierabracci on bass for a night of multiple notes, many time signatures, and unexpected changes. Recorded at The Grape in Ventura, California on August 29th, 2022, the album consists of material from the pair’s latest studio efforts, 2020’s “The Phoenix” and 2022’s “Vortex”, and a few highlights from the past.
Fans of Simon Phillips would have checked out the lengthy interview we did with him in 2019. Our collaborator Rodrigo Altaf spoke with Simon once again to get an update on his plans, discuss the creative process that became the live album with Derek Sherinian, his approach to playing drum solos, and much more. Listen or watch their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post SIMON PHILLIPS Explains His Approach To Drum Solos: “Every Night Is Something Different, I Try To Keep Them Spontaneous” appeared first on Sonic Perspectives.
Interview conducted by Mark Boardman and Scott Medina**
Born from the ashes of Unitopia in 2016, Australia’s *Southern Empire brought a harder edge to the terrain of symphonic progressive rock as Sean Timms introduced his new band to the world. Boasting world-class musicians in Cam Blokland on guitars and vocals, Jez Martin on fretless and fretted bass, Brody Green on drums and vocals, and Danny Lopresto on lead vocals, the quintet released an impressive debut of material originally meant for Unitopia. But it was their second album, “Civilisation”*, which vaulted them into the spotlight and landed them on many “best of 2018” lists.
Several years later, work was being completed on album number three when lead singer Lopresto had a change of heart and decided to leave the band. Frustration turned into opportunity as the band quickly pivoted, finding a new front-man in Shaun Holton who recorded all of the lead vocals in time to release the album this September. And what an album it has turned out to be! (Check out our review HERE)
“Another World” ArtworkAmidst all of this change, Sonic Perspectives‘ prog-rock connoisseurs Mark Boardman and Scott Medina sat down for an in-depth conversation with both keyboardist and and band’s mastermind Sean Timms and new singer Shaun Holton, to discuss the impact of Lopresto’s unforeseen departure and the band’s subsequent decisions.
We also looked in depth at the material on “Another World”, as well as the touring potential and pitfalls for a prog band from Adelaide. Join us as we explore the new world of Southern Empire in their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post SOUTHERN EMPIRE’s SEAN TIMMS and SHAUN HOLTON Discuss The Band’s Just Released Album: “We Looked At It As Exciting Opportunity To Bring In A New Singer” appeared first on Sonic Perspectives.
Mind-bending guitarist Joe Satriani will be back in South Florida area for three additional Gallery appearances in September – the details can be seen below.
FRIDAY, SEPTEMBER 8 @ 7:00 – 10:00 PM
Wentworth Gallery at Seminole Hard Rock Hotel & Casino
Address: 5804 Seminole Way #103
954.314.7210
SATURDAY, SEPTEMBER 9 @ 5:00 – 8:00 PM
Wentworth Gallery at Boca Raton Town Center Mall
Address: 6000 Glades Road #1089
561.338.0804
SUNDAY, SEPTEMBER 10 @ 1:00 – 4:00 pm
Wentworth Gallery at Las Olas
Address: 819 East Las Olas Blvd.
954.468.0685
Hot on the heels of a very successful tour to promote his 2022 album “The Elephants of Mars”, Joe keeps working on new paintings and is working against the clock to finalize the work for the upcoming exhibits. Aside from some new works, any purchasers of his paintings will be treated to a private performance, inside the gallery, for the final hour of his exhibit appearance. And those who have purchased his unique hand-painted guitars will have the extra thrill of jamming with the man himself.
One of the most successful guitar players of his generation, Joe has excelled not only as a solo artist and painter but was also a part of several bands: Greg Kihn Band, Chickenfoot, Mick Jagger’s touring band, and Deep Purple, with whom he toured after the departure of Richie Blackmore. He also put together G3, a tour that consists of three guitar players doing solo shows and an extensive jam towards the end. Accompanying Joe on the G3 tours were six-string geniuses such as Steve Vai, Eric Johnson, John Petrucci, Steve Morse, Robert Fripp, and many more.
Collaborator Rodrigo Altaf interviewed Joe Satriani in early 2022 for yet another exhibit of his paintings – you can check out that interview HERE. In preparation for the upcoming dates in Florida, the two of them caught up again and discussed Joe’s process, the recent tour, the joy of playing with his peers in G3 and much more. Listen or watch their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post JOE SATRIANI Is Planning Art Exhibits And Jams In Art Galleries In Florida: “I Will Be Playing In An Intimate Setting, Surrounded By My Artwork” appeared first on Sonic Perspectives.
Over the years, Black Stone Cherry has headlined 12,000-capacity arena shows and shared the stage with a wide array of musicians, including Alter Bridge, Theory of a Deadman, Def Leppard, Gov’t Mule, Nickelback, Lynyrd Skynyrd, Bad Company, Mötorhead, Halestorm, Stone Temple Pilots, The Darkness, and ZZ Top. In 2018, the band performed in front of 100,000 people at the Download Festival as main support to Guns N’ Roses. In 2021, the band played at the UK’s venerated Royal Albert Hall, a performance immortalized on 2022’s live DVD “Live From The Royal Albert Hall… Y’All!”
The band continues their path as flag-bearers of Southern Rock on their new album “Screamin’ At The Sky”. After a few challenging years and the loss of family members, the new effort justifies the old French saying “one must suffer to be beautiful.” Or, in the words of vocalist/guitarist Chris Robertson, “There is a lot of darkness on this album—I bared my soul—but it always foreshadows light at the end of the tunnel.”
“Screamin’ At The Sky” features all-new material written collaboratively while on tour. For the recording, the band decided to try something they always dreamed about tracking an album at The Plaza Theater in Glasgow, Kentucky, a legendary 1020-seat venue built in 1934 that boasts meticulous acoustics. The end result is a bombastic collection of songs that will propel these Kentuckians onto even higher echelons in the music pantheon, as exemplified by the singles “Out of Pocket” and “Nervous”.
Collaborator Rodrigo Altaf caught up with guitarist Ben Wells to discuss the new album, the band’s early days, what it’s like to meet their heroes on the road, and much more. Listen or watch their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post BEN WELLS of BLACK STONE CHERRY Chimes In On New Album “Screamin’ At The Sky”: “We Wrote The Album While On Tour, And That’s Why It Sounds So Ferocious” appeared first on Sonic Perspectives.
In another one of many life-changing decisions taken by humanity after the daunting onset of the Covid-19 pandemic, Candlebox recently announced their retirement this year of 2023, coincidentally the year when the band is celebrating the 30th anniversary of their self-titled debut. Fans will have plenty of chances to say farewell to front-man Kevin Martin & and his gang, as the band has embarked on “The Long Goodbye” tour in the US. An album of the same name was just released – “The Long Goodbye”, last August 25 via Round Hill Records. The LP’s first single, “Punks”, is a cautionary message to young bands that they won’t be the hot new thing forever.
In addition to “Punks”, the 10-track collection, which Don Miggs produced, includes the sneering statement of independence “What Do You Need?”, co-written by Nick Brown of the alt-rock band Mona, who also appears on the track, and the moody, atmospheric “Elegante”, where Kevin dives headlong into creative wordplay as Miggs and the band mimics a synth-pop vibe with guitars and drums. Elsewhere is the acoustic “Maze” and “Cellphone Jesus”, where Kevin allows some of his worldview to seep in as he searches for a sign from above of a damaged society.
Candlebox rose to fame after releasing their self-titled debut album in July 1993. The band’s sophomore album, “Lucy” (1995), tweaked their sound and was certified gold, and was followed three years later by “Happy Pills” (1998). Troubles with the record company prompted a breakup in 2000, but the band reunited in 2006. Since then, they have released four more studio albums: “Into the Sun” (2008), “Love Stories & Other Musings” (2012), “Disappearing in Airports (2016)”, and “Wolves” (2021), and the aforementioned “The Long Goodbye”, which will become their swansong.
Collaborator Rodrigo Altaf spoke with *Candlebox’s founder Kevin Martin, and they discussed the final steps of the band, the writing and recording of “The Long Goodbye”, opening for Rush in the 90’s, what’ Kevin has planned to do after the tour is over, and much more. Listen or watch their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard,* Twitter and YouTube**, where you can be notified about new content we publish on a daily basis.
The post CANDLEBOX front-man KEVIN MARTIN Talks Final Album And Farewell Tour: “It’s Been An Enriching Experience, And We’re Having A Blast!” appeared first on Sonic Perspectives.
Spirit Adrift are back with a new full-length, entitled “Ghost at the Gallows”. The follow-up to 2020’s “Enlightened in Eternity” comes out on August 18 via Century Media, and delivers the band’s most fully realized work to date. This is a record that confidently stands at the crossroads of heavy metal at its most epic and elemental and hard rock at its most honest and heartfelt.
Having released two EPs in the last few years – namely 2021’s “Forge Your Future“ and 2022’s “20 Centuries Gone”, the road lead to the new album was nothing short of a massive undertaking.
Nate Garrett has been weaving the sonic tapestry of *Spirit Adrift since 2015, marking his own personal growth from doom metal and his much-documented sobriety to today’s sonic triumph with “Ghost At The Gallows”. The album intricately pulls together every element of Garrett’s riff-mongering musical mastery to arrive at a conclusion and start a new chapter for Spirit Adrift. The involvement of new members from their touring lineup in the writing and recording of the album brought a new dimension to their sound. Tom Draper (guitars), Sonny DeCarlo (bass), and Michael Arellano (drums) added their own spin while maintaining the core of Nate’s* intentions.
With the common theme between the songs being the search for what death represents, there’s something for every taste in “Ghost At The Gallows”. From the twin guitar epicness of “Give Her To The River” to the plodding single “Barn Burner”, the thrashy elements of “Hanged Man’s Revenge” all the way to the triumphant title track, the listener is invited to a journey with many twists and turns. The rewarding conclusion could not be any different than “traditional metal is alive and well”.
Garrett sat down with Rodrigo Altaf to discuss the current state of the band, the creative process and inspiration that led to “Ghost at the Gallows”, his musical influences as guitarist and singer, the album’s artwork, the band’s current line-up, the upcoming touring plans, and much more. Listen or watch their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
“Ghost At The Gallows” builds upon Nate Garrett’s already impressive legacy of reinventing the steel by leaps and bounds. While prior records were largely solo affairs, “Ghost At The Gallows” is the closest Spirit Adrift has come to capturing a band vibe. “While we didn’t track this record as a full, live band, Mike and I did track live with drums and guitar to capture that real, raw explosive human energy that’s imperfect and dynamic. I think it shines through,” says Nate of the studio sessions.
With Sanford Parker at Chicago’s Electrical Audio and Jeff Henson at Texas’s Red Nova Ranch engineering and co-producing alongside Garrett, and legendary Zeuss (Queensryche, Hatebreed) handling mixing and mastering duties, “Ghost At The Gallows” takes chances few of Spirit Adrift’s riff-obsessed brethren could possibly approach.
” Ghosts At The Gallows” Artwork*“Ghost At The Gallows”* track-listing:
- Give Her To The River
- Barn Burner
- Hanged Man’s Revenge
- These Two Hands
- Death Won’t Stop Me
- I Shall Return
- Siren Of The South
- Ghost At The Gallows
The post SPIRIT ADRIFT’S Main-man NATE GARRETT Talks New Album And Musical Mission: “I Wanna Write Songs That Sound As Lush And Massive As Possible” appeared first on Sonic Perspectives.
Aussie deathcore heavyweights Thy Art Is Murder are back, and oh how the world has missed their iconic furious sound. The Sydney-born 5-piece began teasing fans with the bludgeoning single “Join Me In Armageddon”, a massive and aggressive display of their signature sound. Yes, the breakdown is huge, and yes, long-time friend and producer Will Putney absolutely nailed the clear but spine-shatteringly heavy production.
“Keres” soon followed after, and the world was put on notice: *Thy Art is back, and their fury is everlasting. Full of face-melting riffs, pummeling rhythms and even more vigorous roars from CJ McMahon, “Keres” heralded to all that the band’s sixth LP is not something to simply gloss over. It’ll loom over you, pulverize you and get you moshing in any location you find yourself. If that wasn’t enough, today the band blasted open the ninth circle of hell with a potent mix of mayhem and force designed to galvanize us into overthrowing the evil that reigns on the third single “Blood Throne”.*
Sonic Perspectives writer Josh Muncke got the chance to sit down with Andy Marsh, the band’s guitarist to explore all things *Thy Art. They speak about touring, Marsh’s record label Human Warfare, local Aussie bands that are making it overseas, and of course all of the work and time put into creating LP6, “Godlike*”.
“Godlike” will be released on September 15 via Human Warfare and can be pre-ordered HERE.
*Thy Art Is Murder’s thinking-person’s blackened death metal has challenged, provoked and inspired audiences around the world. Through relentless hard work, Thy Art have become one of the most successful extreme metal bands Australia has ever produced, making history on their own terms. Backed by an uncompromising discography, the two-time ARIA-Award nominees have smashed chart records in their native country, becoming the first homegrown extreme metal act to debut in the Top 5 with 2017’s “Dear Desolation”.*
Their electrifying and incendiary performances have seen the band do countless laps of the globe, becoming tour-mates with genre-titans like Cannibal Corpse, Slayer, Kreator, Lamb Of God, Killswitch Engage, and Parkway Drive, alongside playing crucial festivals like Summer Breeze, Download, Graspop, and Wacken.
Join Thy Art Is Murder when they enter “Godlike” mode this coming September.
“Godlike” Album Artwork“Godlike” track-listing:1. Destroyer of Dreams 2. Blood Throne 3. Join Me In Armageddon 4. Keres 5. Everything Unwanted 6. Lesson in Pain 7. Godlike 8. Corrosion 9. Anathema 10. Bermuda
The post ANDY MARSH Of THY ART IS MURDER Talks Touring, Aussie Metal, And Keeping The Energy At An All-Time High for “Godlike” Album appeared first on Sonic Perspectives.
It’s 2023, and the music industry has totally changed. While 30 or 40 years ago musicians focused on the one band they were a part of, nowadays having a side project is almost mandatory. The revenue streams are different, file sharing and instant messaging allows for multiple music outlets for anyone, so it’s natural that gifted players decide to explore multiple musical avenues.
Volbeat’s Michael Poulsen dedicated over 20 years of his career to bringing the band to the status they have today. Releasing eight full-lengths, selling millions of albums, and filling stadiums worldwide was his only priority, and it comes as no surprise that they reached an incredible popularity across the globe. The combination of Elvis-style melodies and thrash metal riffs is unique, and they deserve every accolade they can get. However, the seeds of death metal were always there lingering in Michael’s brain, and finally a return to his roots is in order.
Before fronting *Volbeat, Poulsen formed death metal band Dominus, which recorded four fast, brutal albums in the mid ‘90s. When he was putting together songs for Volbeat’s 2021 album, “Servant of the Mind”, he wrote a bunch of death metal riffs and saved them on his hard drive. When he was done with the Volbeat record, he reopened the rusty gates to Armageddon and started putting together songs for his new death metal band Asinhell, whose debut album “Impii Hora” (Latin for Ungodly Hour), is a tribute to Poulsen*’s favorite old-school groups. The songs are rooted in crushing riffs yet injected with strong guitar hooks and shout-along refrains.
From the opening cut, “Fall of the Loyal Warrior,” to the last song “Foj for Helvede”, Poulsen professes his love for bands like Death, Entombed, Bolt Thrower, Autopsy, Dismember, Grave, Mercyful Fate, Possessed, and other old-school acts. While he is proud to wear his influences on his sleeves, *Asinhell developed its own identity. The band went from being a mere idea to recording the pile-driving full-length “Impii Hora”* in about a year.
Sonic Perspectives collaborator Rodrigo Altaf caught up with Michael Poulsen right before a *Volbeat’s concert some days ago, and they discussed Asinhell, the current Volbeat tour, future plans and much more. Listen or watch their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard,* Twitter and YouTube**, where you can be notified about new content we publish on a daily basis.
The album will be available in the following formats:
- Jewel case CD
- 180g Black Vinyl (Europe excl.)
- Crimson Red Marbled Vinyl (Europe excl.)
- White Vinyl (Europe excl., ltd. 1000)
- Gold/Black Dust (EMP excl., ltd.300)
- Clear w/ Red/White Splatter Vinyl (Europe Band store excl., ltd. 500)
- Silver Vinyl (US excl.)
- Silver w/ Red Splatter Vinyl (US. excl.)
- Black & White Melt Vinyl (US excl.)
- Red/Black Splatter Vinyl (US Band store excl., ltd. 500)
“Impii Hora” track listing: 1. Fall Of The Loyal Warrior
2. Inner Sancticide
3. Island Of Dead Men
4. Trophies
5. The Ultimate Sin
6. Wolfpack Laws
7. Desert Of Doom
8. Pyromantic Scryer
9. Impii Hora
10. Foj For Helvede
*Asinhell* is:
- Michael Poulsen / Guitar
- Marc Grewe / Vocals
- Morten Toft Hansen / Drums
The post MICHAEL POULSEN of VOLBEAT Explores Death Metal On New Project ASINHELL: “My Love For Old School Death Metal Has Always Been There, You Can Hear The Inspiration On This Album” appeared first on Sonic Perspectives.
Glenn Hughes, the former bassist, and singer of Deep Purple, known to millions as the ‘Voice of Rock’, Rock and Roll Hall of Fame inductee, and the front man for rock super group Black Country Communion, recently announced an evening celebrating music from “Burn” and other classic hits from Deep Purple‘s rich back catalog – during a USA tour that will mostly see him co-headlining with guitar great Yngwie Malmsteen.
Billed as “Glenn Hughes Performs The 50th Anniversary of Deep Purple’s BURN Live“, *Hughes will perform classic hits from the legendary album, and the addition of Deep Purple MKIII and MKIV songs. Glenn‘s band will feature his long-time collaborator Soren Andersen (guitar), Ash Sheehan (drums) and Ed Roth (keyboards).*
‘It was 50 years ago, in the summer of 1973, that the “Burn” album was written at Clearwell castle in Gloucestershire UK,” reminisces *Hughes “The atmosphere was electric, in such amazing surroundings. All the songs on “Burn” were written in the crypt/dungeon, underneath the great hall. We worked on a new song every day, and we were in the flow. Musically we would play, and work out ideas, and David* and I would come up with vocal melodies that would later have lyrics. I remember it like it was yesterday.”
With barely a week before the tour begins, *Hughes chatted with Rodrigo Altaf regarding the upcoming shows, while also talked about how recovery changed his life, his relationship with David Coverdale and Richie Blackmore, his memories about the Rock N’ Roll Hall of Fame induction ceremony for Deep Purple and much more. Listen to their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube* channel to be notified about new content we publish on a daily basis.
The post GLENN HUGHES Talks Upcoming Tour, His Voice, Just Completed BLACK COUNTRY COMMUNION Album, And More: “Be Careful, Healthy And Live With The Right Attitude, And You Can Do This Forever” appeared first on Sonic Perspectives.
VANDENBERG will release their long-anticipated riff-driven album, “Sin”, via Mascot Records/Mascot Label Group on August 25th. Pre-order “Sin” HERE.
Exploding out of The Netherlands and onto the global scene with their 1982’s album “Vandenberg”, the Dutch phenomenon notched an international hit in the form of “Burning Heart.” It paved the way for multiple releases, such as “Heading for a Storm” [1983], “Alibi” [1985], and “2020” [2020]. The band toured the United States, Europe, and Japan alongside Ozzy Osbourne, KISS, RUSH, Scorpions, Michael Schenker, and many others.
On “Sin”, Adrian continues to deliver a VANDENBERG album where every song is vibrant, melodic, and has an edgy bite. New vocalist Mat Levén‘s soulful vocals combined with Adrian‘s immediately recognizable guitar heroics prove unbeatable. Rounding off Vandenberg is Randy van der Elsen [bass]and Koen Herfst [drums].
“Sin” Album Artwork
VANDENBERG as a band roared back to life with the comeback LP ““2020”. Among many highlights, “Freight Train” gathered 1.6 million Spotify streams, while the record attracted praise. Building on the success of that release, Adrian and the band are paving the way to recreate powerful classic rock while delivering some sonically blazing guitar solos. An undeniable chemistry is evident on “Sin” as these rockers are not taking their foot off the gas. From the first riff single off the album’s “House on Fire” to the final sustained chord of the epic closer, “Out of the Shadows,” fans will be hooked as VANDENBERG are at a whole new level with their songwriting.
Correspondent Robert Cavuoto spoke to Adrian about the creation of “Sin”, working with new vocalist Mats, why Ronnie Romero was not involved in this album, how he achieves his edgy guitar tone, and the just announced 2024 tour of America. Listen to their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post ADRIAN VANDENBERG Talks Upcoming VANDENBERG Album “Sin”: ‘Rock Music Must Have Energy Or Else There Is No Use Playing It!’ appeared first on Sonic Perspectives.
Richard West is best known as the keyboardist, composer, and background vocalist for the British prog-metal band Threshold. But he’s about to be known for a side project, something that’s taken on a life of its own. The band is Oblivion Protocol. Its album is The Fall of the Shires, will be released on August 18 through Atomic Fire Records.
Written as a sequel to Threshold‘s 2017 concept album Legends Of The Shires, The Fall Of The Shires delivers a dense, climactic sound somewhere between Rush, Steven Wilson, The Dark Side Of The Moon-era Pink Floyd, and hard rock masters Ghost, all the while providing the listener with clever little nods, bows, and references to the first installment.
Mastermind West elaborates, “At the end of Legends Of The Shires, the protagonist considers a number of possible futures – ‘maybe a painter, a guide, a clerk, a maker, or maybe a writer, a king, a star, a fighter.’ So the sequel tells the story of him becoming the king and the consequences of that choice where he decides that the only way to control the population is to suppress and control them, so the shires become a much darker place.”
“The Fall Of The Shires” will be available in CD-digipak, LP (Green), and digital formats. Pre-order it, in the physical format of your choice, pre-save it on your preferred DSP or pre-order it digitally to receive “Forests In The Fallout” instantly at THIS LOCATION.
“The Fall Of The Shires” Album Artwork
Oblivion Protocol‘s lineup is completed with three renowned musicians: guitarist Ruud Jolie (Within Temptation), bassist Simon Andersson (Darkwater), and drummer Darby Todd (Devin Townsend). Additionally, Threshold‘s Karl Groom has contributed some truly enthralling guitar solos to the record.
Sonic Perspectives‘ Mark Boardman sat down to speak with Richard about that project, and about how it fits into the overall scheme of Threshold. Watch or listen to their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post RICHARD WEST Talks About A Vanity Project That Became Much More: “I Had This Idea Which Was Rejected By My Band THRESHOLD, So I Completed It Just For Myself, And It Suddenly Became OBLIVION PROTOCOL.” appeared first on Sonic Perspectives.
Some bands just take consistency to the next level. That is definitely the case with death metal stalwarts KATAKLYSM. Originally formed in Quebec, they have put out one album every two years since their debut, 1995’s “Sorcery”. The band went through some lineup changes, the most notable of which was the departure of founding member and lead vocalist Sylvain Houde in 1998. As a result of that, their bass player, Maurizio Iacono, took on vocal duties, and they brought in Stephane Barbe to take care of the four strings. The core of the band is completed by guitarist Jean-François Dagenais. The hot seat in the band is the drum stool, and currently, the skin-beating duties are being handled by James Payne, who joined in 2020.
Lineup changes, COVID, touring challenges, changes in the music landscape…nothing seems to stop KATAKLYSM, and their fan base has increased with every new release. August 11th brings yet another offering from the band, the highly anticipated “Goliath”. Released under the Nuclear Blast Label, it utilizes metaphors of war, mythological creatures, and revenge to discuss current affairs and personal issues such as censorship, government control, summoning your powers in the face of adversity, and many other subjects. The mixing is perfectly done, and the listener can appropriately enjoy every little detail and every instrument, which is heard loud and clear. A rare feat for a death metal band, and even more so when you realize you can properly hear all the lyrics.m.
“Goliath” Album Artwork
KATAKLYSM’s front-man Maurizio Iacono is a busy man. In addition to being one of the creative forces of the band, he also puts out albums under two other monikers – Ex Deo and Invictus. He is also the owner of the record label Distortion Music Group and of the booking agency Continental Touring. With so many things going on in parallel, it’s impressive that he still finds time to do interviews…but he did spend some time with our collaborator Rodrigo Altaf. They discussed the approach on the new album, the touring plans, the inspiration to write lyrics, and much more. Listen or watch their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
Pre-order/pre-save “Goliath” HERE.
“Goliath” was recorded at JFD Studios in Dallas, Texas and Studio City, California as well as The Cabin in Orlando, Florida by Jean-François Dagenais, who also produced and engineered the album. For the mixing and mastering, the band returned to Chris Clancy with assistance from Colin Richardson. The cover artwork required an image that captured the iconic battle of David versus Goliath theme that is echoed throughout the album while matching the power of the music. The band enlisted renown Berlin metal illustrator Eliran Kantor (TESTAMENT, FLESHGOD APOCALYPSE) to create the artwork which who took the KATAKLYSM look and gave it a macabre filter that compliments the brooding sense of uneasiness that was felt during the writing and recording of the album.
The post MAURIZIO IACONO of KATAKLYSM Shares His Recipe To Keep Inspired And Energized After Three Decades In Music: “It’s All About Being Consistent In Your Approach, And Using Music In A Therapeutic Way” appeared first on Sonic Perspectives.
Sevendust is back with their 14th studio album “Truth Killer”, slated for worldwide release on July 28th via the band’s new label, “Truth Killer”.
“Truth Killer” is the follow-up to the band’s 2020 critically acclaimed release “Blood & Stone”, which saw the band gain newfound notoriety. “Truth Killer” showcases that the original and current lineup comprised of Lajon Witherspoon, Clint Lowery, John Connolly, Vince Hornsby, and Morgan Rose. They are a band that continues to push the boundaries of their sound, which they have made their own for more than 28 years. Producer and collaborator Michael “Elvis” Baskette also returns to produce this epic release. To date, the band has released three singles, “Everything,” “Fence,” and “Holy Water,” each providing the flavor to fans of the power and emotion that can be found on the entire album.
Sevendust is synonymous with power, precision, and perseverance. Throughout their career, they have shaped, refined, and steadily broadened their style of metal. They continue to power ahead through the changing musical landscape; to deliver another supercharged album. Pre-orders are available in multiple configurations AT THIS LOCATION.
“Truth Killer” Artwork
The band will be on tour with Alter Bridge this Summer and then Static -X in the Fall. Tickets for the shows can be found HERE.
Correspondent Robert Cavuoto spoke to Lajon about the band’s new album “Truth Killer”, which songs he feels is the heaviest track, his gift for lyric writing, why being in Sevendust has been a beautiful dream come true, why he kicks people out of the studio when recording vocals, and his determination to add the claymation figures used in the video of “Fence” to his mancave! Listen to their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
SEVENDUST “Truth Killer” will be available in the following formats:
- 1CD 6p. Digisleeve
- 1LP Gatefold Vinyl BLACK
- 1LP Gatefold Vinyl MINT – North American retail Only
- 1LP Gatefold Vinyl Die Hard MARBLED BLUE/WHITE/BLACK (Slipmat, Record Butler) – Napalm Mail Order Only, limited to 300
- 1LP Gatefold Vinyl GLOW IN THE DARK – Band Mail Order Only, limited to 500
- 1LP Gatefold Vinyl CURACAO TRANSPARENT – Band Mail Order Only, limited to 500
- 1LP Gatefold Vinyl GOLD – Band Mail Order Only, limited to 500
- 1LP Gatefold Vinyl ORANGE TRANSPARENT – Band Mail Order Only, limited to 500
- Music Cassette NEON YELLOW TRANSPARENT – Napalm Mail Order Only
- 1CD 6p. Digisleeve + Shirt “Truth Killer” Bundle – Napalm Mail Order Only
- Digital Album
The post LAJON WITHERSPOON Of SEVENDUST Talks New Album “Truth Killer” – ‘Music Is The Healer, and I’m The Doctor To Give The Medicine!’ appeared first on Sonic Perspectives.
It’s been just a few weeks since Joe Deninzon was announced as the new violinist for the legendary band Kansas. He takes the seat previously held by original member Robby Steinhart and then David Ragsdale. Joe Deninzon’s first performance with the band was in Pittsburgh, PA last June 2 at the Benedum Center during the premier date of the “KANSAS 50th Anniversary Tour – Another Fork in the Road.”
Joe Deninzon has been hailed by critics as “The Jimi Hendrix of the Violin,” because of his innovative style on the “viper” seven-string electric violin. Joe is the lead singer and violinist for the progressive rock band, Stratospheerius, which has just released their 6th album, “Behind the Curtain (Live at ProgStock).” He can be heard on over a hundred albums and jingles as a violinist and string arranger.
Deninzon has performed and/or recorded with The Who, Bruce Springsteen, 50 Cent, Sheryl Crow, Ritchie Blackmore, Alex Skolnick, Smokey Robinson, Les Paul, Peter Criss from KISS, Michael Sadler, Renaissance with Annie Haslam, Kurt Elling, and as a soloist with Jazz at Lincoln Center and the New York City Ballet. A BMI Composer’s Grant recipient and winner of the John Lennon Songwriting Contest, he has written solo works for violinist Rachel Barton Pine, and in 2015, premiered his Electric Violin Concerto with the Muncie Symphony Orchestra. Joe holds a Bachelors degree in Violin Performance from Indiana University and a Masters in Jazz Violin From Manhattan School of music.
KANSAS original member and drummer Phil Ehart commented about Joe joining the band: “We are extremely excited for Joe Deninzon to be the newest member of KANSAS. We believe KANSAS fans will enjoy what Joe will bring to the band. We are excited to kick off the KANSAS 50th Anniversary Tour. As the paragraph in the band’s first album said, ‘KANSAS IS A BAND’ and we remain so to this day.”
Needless to say, life has been good – and busy – for Joe Deninzon of late. But he’s found some time to talk with our very own Mark Boardman and deep dive about how he joined KANSAS and how the experience of playing with one of the bands he grew up listening to feels like. Watch or listen to their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post JOE DENINZON Talks About Living The Dream As The Newest Member Of KANSAS. “I’m Still Pinching Myself That I Get To Play In A Band I Grew Up Listening To.” appeared first on Sonic Perspectives.
Earlier this year, Ihsahn released his latest EP, “Fascination Street Sessions.” The thirteen-minute EP included two original tracks and a cover of Kent’s “Dom Andra,” and featured the vocal talents of Jonas Renske (Katatonia) and Øystein Aadland (Avkrvst). Critics unanimously praised the rich sound, high-quality production, and continued excellence from one of metal’s most beloved artists.
As though a new EP wasn’t exciting enough, “Fascination Street Sessions” was the sonic result of an even greater endeavor: the URM Academy production course titled “How It’s Done.” The original track “The Observer” was written particularly for the course, with every element of the song crafted to optimize the educational experience. The course and EP that resulted were the product of almost two weeks of 16-hour days in the eponymous Fascination Street Studio.
“How It’s Done” is the brainchild of producer Jens Bogren. Bogren, known for his work with bands like Opeth, Dimmu Borgir, Soilwork, Amon Amarth, and many more, has long been considered the master of his craft. As for “How It’s Done,” the course offers more than 35 hours of in-depth video content on recording, mixing, mastering, and much more. It is already being heralded as the most comprehensive course of its kind. Buyers of the course will become students as Bogren walks through each step of his process, from preparing the equipment, through recording, to the final master. There has never been a greater wealth of information in one place, and never with such talented experts as the instructors.
Why Jens Bogren Matters: Jens is considered to be one of the greatest metal producers/mixers of all time. He specializes in hyper layered, ultra elite, typically European bands. He became known for Opeth’s “Ghost Reveries” which received critical acclaim around the globe. He’s also the owner of Bogren Digital which is a new, but really cool and innovative audio software company. His studio, Fascination Street Studios is as legendary in the metal community as Morrisound Recording was in the 1990’s.
What’s Cool About It: This course is it’s literally EVERY step of what Jens does, explained in full detail and in real time during the actual production of Ihsahn‘s music. This was not put together after the EP was completed. This song was written for this purpose and Ihsahn is very involved in the entire process. There’s never been a recording course that goes into this kind of detail with this level of artist.
Between Ihsahn and Bogren, metal’s finest have come together for an educational opportunity like no other. “How It’s Done” is available now and for a limited time (sales close July 12). The course is priced at $399 and can be purchased HERE.
Sonic Perspectives contributor Samantha Buckman spoke with Ihsahn about the creation of “How It’s Done.” The two discussed the special features the course offers, what it was like to work with Bogren on such a comprehensive project, and what awaits Ihsahn in the future. Listen or watch their conversation below and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new interviews and contents we publish on a daily basis.
The post IHSAHN Reflects On Now Available URM ACADEMY Course “How It’s Done” with JENS BOGREN: “The Most Important Takeaway is Commitment” appeared first on Sonic Perspectives.
The old saying “good things come to those who wait” is one that FIFTH ANGEL fans have become rather used to. After twenty years of dormancy, the band reunited in 2010 for the Keep it True Festival, but plans to record new material were scrapped. In 2017 they returned to the same festival and then the stars aligned, with the band deciding to write and record a new album. 2018’s “The Third Secret” was quite a surprise, combining the heavier side of their playing with a modern production. If you check our page regularly, you might remember our review of the album, but if you don’t, you can read it HERE. Also, at the time we spoke with FIFTH ANGEL‘s bass player John Macko and drummer Ken Mary during the album promoting cycle. You can check out our chat with Macko HERE and with Mary AT THIS LOCATION.
After several festival shows in 2019, FIFTH ANGEL had ambitious plans to tour in 2020, but we all know how that went. It was time to get back to the drawing board and work on a follow up to “The Third Secret”. The end result, entitled “When Angels Kill”, is a dream come true for long-time fans. Weaving the lyrics and subject matter of the last trilogy of their albums into a double concept record, this release showcases the band at the height of their creativity and ambition. Its 70 minutes and 14 tracks go by in a flash, and the listener is immersed in a dystopian world where humanity’s survival is at risk.
“When Angels Kill” Artwork
Order “When Angels Kill,” HERE.
The story of “When Angels Kill” begins in the future, when Phoenix, a young man caught in a world undergoing enormous changes, determines that the cunning, deceptive, and ruthless global leader that is enslaving billions will not subjugate him. Although it seems pointless and even fatal to resist, Phoenix joins a remnant of people that fight on for a better world. Traitorous love, catastrophic events, isolation, and impending doom darken his days, but Phoenix somehow retains his will to survive. The story concludes with a surprise ending.
Sonic Perspectives collaborator Rodrigo Altaf became acquainted with FIFTH ANGEL in 2018, after listening to “The Third Secret”. He spent some time catching up with John Macko and Ken Mary once again, and discussing the band’s recently released “When Angels Kill”, the touring plans, the current state of the music business and many other interesting topics. Watch or listen to their information-packed conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post KEN MARY And JOHN MACKO Reflect On The Intensity Of New FIFTH ANGEL Album “When Angels Kill”: “We’re More Progressive And Aggressive, But Maintaining Our Core” appeared first on Sonic Perspectives.
Legendary Sacramento rockers, TESLA released their live album, “Full Throttle Live”, on May 26th. It was recorded at the infamous Full Throttle Saloon in Sturgis, South Dakota, during their Bike Rally in August 2022. Order or stream “Full Throttle Live” HERE.
The album captures the essence of TESLA at their best during a hell-raising concert. From the slash-and-burn riffing of the album’s lead-off track, “Miles Away,” to the high-speed antics of their two new songs, “Time to Rock!” and “Cold Blue Steel,” to the perfect closing cover of Aerosmith‘s “S.O.S. (Too Bad)”, TESLA delivers nine classics with a balls-out attitude. The band consists of Jeff Keith [vocals], Frank Hannon [guitar], Brian Wheat [bass], Dave Rude [guitar], and Steve Brown [drums].
TESLA will be traversing America on a summer headline tour as well as a Las Vegas Residency. Check out this link for tour dates and tickets.
“Full Throttle Live” Artwork
That they are still roaring and soaring should be no surprise. That’s just how they are built. TESLA may have been born in the mid-80s, but their bluesy, soulful sound is strongly embedded in the roots of organic, authentic, 1970s rock and roll. The same roots that produced bands like The Allman Brothers, Grand Funk Railroad, AC/DC, Lynyrd Skynyrd, and Aerosmith.
Correspondent Robert Cavuoto spoke to TESLA‘s front-man, the ever charismatic Jeff Keith about the live record, how the band doesn’t believe in using backing tracks, their ability to modify their set list show-to-show, a new album is in the works while releasing singles, and why he wasn’t motivated to write during the pandemic, among other topics. Listen to their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post TESLA’s Front-man JEFF KEITH Talks Recent Album “Full Throttle Live” and More: “We Play Live At All Times, No Machines. We Either Sound Good, Or We Don’t, But We Keep It Real” appeared first on Sonic Perspectives.
The 15-year wait for Extreme‘s new album is over! On March 1st, the band took the internet by storm with the surprise announcement for their next studio album by unveiling the video for “Rise.” With its sonically and visually vibrant aesthetic, the video marks the band’s return with their just released album “Six”, (today) via earMUSIC.
Extreme has sold 10 million records, topped the Billboard Hot 100 at #1, and packed major venues on multiple continents. Their sixth and most dynamic album hits harder than ever on there before. The band doesn’t consider this album a comeback, as they never left and are excited about its release.
After years of teasing fans with the album’s status, Gary Cherone [vocals], Nuno Bettencourt [guitar], Pat Badger [bass], and Kevin Figueiredo [drums]deliver a sonic masterpiece. “Six” shows that the band has revitalized their sound, production quality, and performances. All members buckled down at Nuno‘s home studio in Los Angeles to channel the electrifying eclecticism that redefines their sound and this album. Nuno comes out swinging with his most impressive and adventurous guitar performances to date, which is evident on the three singles, “Rise,” “#Rebel,” and “Banshee.” His playing is nothing short of breathtaking, while Pat gets your ass moving, hitting you with the bottom end. Gary delivers his trademark silky-smooth vocals with ease and grace while providing captivating and imaginative lyrics. His poetic lyrical insights have always intrigued and pleased fans since they first appeared on the music scene in 1989.
“Six” Album Artwork
Order “Six” now, HERE.
With every Extreme album, there are always one or two songs where the band takes you down a different musical path. On “Six”, there is the haunting “X Out” and the calypso-driven “Beautiful Girls.”
A heightened level of expectation is always assumed with a band’s long-awaited return, but rest assured, this album kicks ass and is well worth the wait. Extreme continues to delve into their hard rock, metal, funk, blues, and soul roots while fueled by their diverse influences, interests, and musical influences over their career. They continue to prove they can deliver hard rock with a 21st-century twist.
This is a powerful and promising restart for Extreme, as we can only hope it doesn’t take another 15 years to get more music from this band.
Correspondent Robert Cavuoto spoke to Pat Badger on another interview, – made possible by a collaboration with our friends at Bravewords – , and explain why the band has not released an album in 15 years, and noted some songs are up to 10 years old. He also shares why you will never see Extreme dishing dirt on each other on social media, and the healthy friction which helps create these monster songs. Check out their insightful conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post PAT BADGER of EXTREME Talks About New Album “Six”: ‘It’s Very Diverse and Takes You Though Different Atmospheres and Vibes’ appeared first on Sonic Perspectives.
Not many bands can leave a lasting impression and legacy like Black Sabbath have done over the last 50 years. They have been flying the flag for heavy metal throughout their career to legions of fans around the world since their eponymous debut album, “Black Sabbath”, which was released on February 13, 1970. They went on to sell over 46 million albums, with 19 releases making them.
They are arguably one of the world’s biggest bands in the world and the God Fathers of Heavy Metal. Black Sabbath and its original members, including Ozzy Osbourne [vocals], Geezer Butler [bass], Tony Iommi [guitar], and Bill Ward [drums], are household names due to their hard work and perseverance. Together they catapulted Black Sabbath to stardom and became heavy metal legends.
Now Geezer Butler has released his career-spanning memoir, Into The Void: From Birth To Black Sabbath – And Beyond, which provides insights into the band’s tumultuous career with all the member changes. The book is a fascinating page-turner that chronicles his life growing up in Birmingham, England, forming Sabbath, penning the lyrics for their songs, and touring the world countless times over. He candidly shares the circumstances surrounding his departure in 1986 and what led to the band’s reunion with the four original members in 1997/1998.
Into The Void: From Birth To Black Sabbath – And Beyond is a must-read for Black Sabbath fans as it is written from a place of honesty and passion while done with integrity. The book is be available today (June 6th) in North America and will arrive in the United Kingdom on June 8th. Orders are available on Amazon.
Robert Cavuoto caught up with the legendary Geezer Butler, for a candid interview – in collaboration with our friends from Bravewords – about his life in and out of Black Sabbath. He gives us a deep dive into how they convinced Bill Ward to join the band in the late ’60s, how drugs initially fueled the band’s creativity only to hinder it later, insights into his most misunderstood song, “Black Sabbath,” and which songs from their 1980 release “Heaven and Hell” were initially written for Ozzy Osbourne. He provides the rationale for Ronnie James Dio‘s departure in 1982, why he sold the rights to the band’s name to Tony Iommi, and always remained friends with Bill Ward despite him not being part of the Sabbath‘s reunion tour. Listen to their conversation below – or read the transcript -, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
Interview Transcript:I enjoyed your biography and learned so much from it. Readers will need an organizational diagram or scorecard to track all the musicians who have come and gone in Black Sabbath’s storied career.
I lost track myself [laughing].
That situation lends itself to the thought that every rock band is dysfunctional.
Yes! It must be when working with four completely different people, or however many were in and out of Sabbath. We all have our quirks, and we are all very different.
There are so many great stories in the book, and the one I found most intriguing was that drugs helped seal the deal for the four original members to unite and forge a friendship that catapulted the Sabbath to stardom. Without drugs, we may have never had Sabbath, which is hard to wrap my head around.
It certainly helped in the early days! As soon as we showed Bill Ward that we had hash, he was “all in” to joining us!
Sabbath forever changed the heavy metal landscape with their songs and riffs. The songs still hold up some 50 years later. Once the band was established, do you think the drugs enabled or hindered creativity?
Eventually, it hindered the process. It was boring in those days as there was no internet to look at on your laptop, there were only two TV channels, and both finished at 11:00 pm in the UK. You couldn’t phone home without it costing a fortune. It was just something to do when you got together. We saw drinking booze and taking various drugs as a way to socialize.
Did the band do other things to occupy their time while on tour or between making albums outside of music?
Apart from the groupies which, you would get tired of them quickly. I would read as I brought a lot of books with me.
You wrote the lyrics to most of Sabbath’s songs. What’s so interesting is how misinterpreted they have been to being pro-Satanism.
Exactly; the first song I wrote, “Black Sabbath,” was a warning against Satanism and not to get involved in the occult. In England, many people were involved in black magic; the Stones had their album, Their Satanic Majesties Request, and Arthur Brown was singing about “I am the God of Hellfire.” It was a big underground satanic thing. People who were brainwashed by Christianity were looking for something to rebel against their parents. By rebelling, they were turning to the dark side. It was a fad that didn’t last very long, and the song “Black Sabbath” warned against it. It was totally misunderstood, particularly when we got to America.
Why is “Into the Void” the perfect title for this book, and how does it relate to your career with the band?
I came up with ten different titles for the book. The publishers liked After Forever and Into the Void. Eventually, after consensus, Into the Void won as the strongest. We were called Into the Void when we first started the band, and nobody gave us a chance in Hell of doing anything. Our parents figured let them do their thing for a year, and then they will come to their senses and get proper jobs. That summed it up best.
Being on tour is a hard and lonely life, as I can understand your parent’s perspective to let it run its course and get it out of your system.
It is a hard life being away from home, missing people, being in strange places, and not knowing anyone. The only people you know are the band.
You mentioned everyone in Sabbath had a predetermined role in Sabbath right from the beginning; Tony was the leader, Bill was the fall guy, and Ozzy was the joker and not held in the highest regard. What was your predetermined role?
I gave the band the direction in the type of music we played, from Blues to Cream, and eventually to adding Aynsley Dunbar‘s song “Retaliation” to the first Sabbath album. I also gave the band the name Black Sabbath.
“Into The Void: From Birth To Black Sabbath – And Beyond”
In the late 70s, when Ozzy Osbourne was still with Sabbath and on the verge of leaving, I found it odd to hear he pointed out Sabbath’s songs had too many keyboards. Considering he had Don Airey play keyboards on “Blizzard of Ozz” and backed up most of Randy Rhoad’s guitar playing.
That’s typical Ozzy! I think he meant that we were doing more instrumental songs towards the end of the original line-up, so he felt left out. He didn’t want us going in that direction.
My introduction to Sabbath was the “Heaven and Hell” album. The songs on that album were light years ahead of what was happening musically at the time. Were those riffs or song ideas written for a potential album with Ozzy?
They were! A couple of songs were written with him in mind, especially “Children of the Sea.” When we were writing that with Ozzy, he didn’t have much interest in it. There may have been two or three other riffs Tony had come up with that eventually came out on the “Heaven and Hell” album. I think Ozzy had lost interest in the songs by that time.
Did Ozzy have alternate lyrics to “Children of the Sea”?
I don’t really remember that now.
Ronnie James Dio was eventually let go from Sabbath, and in the book, you never explained how he took the news of being fired.
I think he saw it coming because he already had a solo record deal with Warner Brothers, which we weren’t told about. When we did find out about it, he wasn’t a member of our band because he went his own way. It was just one of those things that happened. I don’t think anyone ever said to him, “You’re out of the band,” It was a mutual agreement.
When you left Sabbath in 1986, you sold the rights to the band’s name to Tony. Why did you do it, and do you regret it?
I really thought it was the end of Sabbath. I never envisioned the four of us getting back together or Ozzy coming back. To me, that was the end of Black Sabbath. I had things going on in my private life, and Tony wanted to carry on with the band, so I said take the name. I would not go on calling myself Black Sabbath. I would never do that. Tony wanted to, so he made me an offer, and I took it. The only regret was when the original band did get back together. Ozzy was talking about the name’s origins when the originals got back together. We got it sorted out in the end, and I was happy to have it solved.
Did it impact all the merchandise at the time?
How it works is if Tony and Ozzy agree to something and I don’t, I have the final say because they own the name. Aside from that, everything is still split four ways.
In the book, you discuss when Ozzy left Sabbath, he asked you to form a band.
Yeah, we were thinking about it. At the time, Ozzy was getting fed up with things, and I was getting delusional about the band and didn’t feel I was having enough say. Ozzy and I discussed getting a band ourselves, but that fell through.
It was a testament to your friendship to separate from Sabbath and put together another band.
We still remained friends apart from all the ups and downs of the band. You can’t have four people together for 50 years and not handle the ups and downs. There have been terrible fall-outs; you forget it and then come back together. It’s just the way of life!
That’s a fascinating point, as you were very candid and shared things that were said against you as well as sharing challenging stories about other members, but the band still found the compassion to remain friends despite all the ill words to reunite.
I think it is all about trying to prove your point of view. You start to feel that my point of view is right, so yours must be wrong. Eventually, it becomes water under the bridge.
In 2006, Black Sabbath was inducted into the Rock & Roll Hall of Fame. Why did the band refuse to perform at the ceremony?
Because we didn’t want to be accepted, we had been turned down by them for ten years. Eventually, we said, “Why don’t you just take us off the ballets?” Then they said you’re in, and we weren’t expecting it, so it didn’t mean anything to us then. They asked us if we would play, and we said No. We decided we would turn up but not play.
You gave your very honest opinions of the situation in the book on the members of Sabbath; what is your opinion that Ozzy may go out on tour performing in a wheelchair?
I wouldn’t be surprised; it’s up to him and has to do with his solo career. Whatever Ozzy wants to do is up to him. It’s sad that he has to do it, but if Ozzy wants to get out there and play to his fans one more time, good luck to him!
Do you still stay in touch with Tony, Ozzy, and Bill?
I do with Tony. Bill doesn’t have the internet, and I haven’t talked with Ozzy since the last Sabbath gig.
Bill wasn’t part of the most recent reunion tours. He was publicly upset about not being part of it, and I wonder if you ever made amends with him.
I never fell out with Bill. There were no hard feelings in 2019 when we got a Grammy Lifetime Achievement Award. He wasn’t on the tour in any capacity. Even if he just came on for a couple of songs, it would have been brilliant. Bill felt it was all or nothing, which we respected. I still don’t exactly know what happened between Ozzy, Tony, and Bill. I was on holiday in Hawaii, and when I came back, Bill wasn’t in the band. So I never got onto it.
One of the biggest concerns expressed in the media was whether Bill could perform a two-hour show. Was there ever a doubt in your mind he could make it through a show and a tour?
I don’t think he could. It’s one of those things that we gave him the option to do as much as he could. Bill‘s attitude was that he wanted to do the whole thing, not part of it, and if he was not doing the whole thing, he didn’t want to be part of it. If they had said to me I could come on and play bass for three songs, then piss off, I would be really upset as well!
You have put out solo albums in the past. Are you working on any new music?
Not at the moment. I’m getting up there in age. I’m always writing music and playing, but no plans to release anything.
Do you still practice bass?
I’m still playing, just yesterday, in fact. I love playing. I find it relaxing while getting my frustrations out!
Was this book written during the pandemic while you were locked in the house with nowhere to go and nothing to do?
A lot of it was. I probably had about 500 pages. The publishers said, “You can’t say that you can’t say this, and you will get sued if you say that!” [Laughing] They also would cut out parts that they felt were boring. They got 500 pages down to about 300 pages.
I bet the stories cut for legality reasons were pretty good.
Absolutely! I told the publishers I was in Black Sabbath, not The Osmonds! [Laughing] They told me that if I could give them proof, we could keep it in. I told them I didn’t have a camera crew following me around every day of my life, so you have to take my word for it! They didn’t, so we left it out of the book.
I want to thank you for your time today and wish you an early Merry Christmas! [laughing].
[Laughing] Thank you!
People will have to read the book and get to the epilogue to understand that inside joke!
The post BLACK SABBATH’s GEEZER BUTLER Talks Upcoming Book “Into the Void”: ‘There Have Been Terrible Fall-Outs; You Forget Them and Come Back Together’ appeared first on Sonic Perspectives.
Born in Israel, raised in Massachusetts, and educated at Berklee College of Music, NILI BROSH has performed with Steve Vai, Paul Gilbert, Tony MacAlpine, Andy Timmons, Guthrie Govan/The Aristocrats, Stu Hamm, Jennifer Batten, Gretchen Menn, DragonForce, Jeff Loomis, Alphonso Johnson, and The Iron Maidens. NILI has also released three solo albums (“Through The Looking Glass”, 2010, “A Matter of Perception”, 2014, and “Spectrum”, 2019), the material from which she performs and gives clinics on.
Additionally, NILI has written a lesson column for Premier Guitar magazine, released several courses with JTC Guitar, and recorded guitars on Danny Elfman’s 2021 and 2022 releases “Big Mess”, “Bigger. Messier.”
Ever an advocate for melody – regardless of instrumentation – NILI BROSH proves no different with her recent two new singles, “Song for Hope” and “Lavender Mountains,” which are out now on all digital outlets. Perhaps even more significant when speaking about instrumental music, melodies have always been at the forefront of BROSH’s priorities.
“I’ve always been a sucker for hooks, though when I was younger, I was mostly familiar with vocal ones. Since I’m no singer, I knew there must be a way to translate memorable melodies to the guitar. I feel like my first few albums were a journey in finding my melodic voice on the instrument, and hooks that ended up on my 2019 album, SPECTRUM, such as on ‘Primal Feels’ or ‘Andalusian Fantasy’ were a sort of culmination of that early journey.”
BROSH’s new songs are meant to be listened to back-to-back. “Song for Hope,” written during the pandemic, represents the quiet optimism for better days, and is thus made to transition into the uplifting intro of “Lavender Mountains.” Dark days spent quietly pondering a lighter future are replaced by uplifting emotions. Feelings full of life return, and the desire to make up for lost time is passionate and strong.
Sonic Perspectives correspondent Scott Medina chatted with BROSCH about the inspiration for both singles, guitar approaches, her collaboration with a myriad of musicians, and several other topics. Join them for this 20 minute chat, and make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new interviews and contents we publish on a daily basis.
“Song for Hope” and “Lavender Mountains” add to BROSH’s catalog of memorable songs-without-words. As both her current and older work suggests, it certainly seems that her collaborations only contribute to this outlook and feed the overall result. Whether it’s playing the iconic theme from “The Simpsons” with Danny Elfman, a timeless hit such as “Beat It” for “Michael Jackson ONE by Cirque du Soleil” at Mandalay Bay Resort and Casino in Las Vegas, or creative fast metal riffs with Dethklok, it’s clear that her side work continues to pour inspiration back into her writing.
The video for “Lavender Mountains,” is BROSH’s “aural representation of the mountains that surround me,” as she explains. “I’ve long been inspired by the desert. Since the ‘Michael Jackson ONE by Cirque du Soleil’ gig moved me out to Vegas in 2017, I’ve often mistaken it for my natural habitat. It mirrored the desert environment and feeling I remembered as a kid in Israel. It’s a feeling I could never properly articulate or explain, but it luckily started coming out in my music.”
Having been endorsed by Ibanez Guitars for over a decade, BROSH can be seen playing her LA Custom Shop Ibanez RG770 guitar, which she’s also used for performances with Danny Elfman, Dethklok, as well as her solo concerts.
In touring news, in addition to her own performances as part of “Michael Jackson ONE by Cirque du Soleil” in her current hometown of Las Vegas, NILI BROSH will be performing with Danny Elfman on August 3 in San Diego, CA and on August 5 in Irvine, CA. She’ll also perform with Dethklok as part of their massive summer tour, “The Babyklok Tour,” with Babymetal which is set to kick off August 30 in Houston, TX. Ticket info can be found on the tour’s official website.
The post Guitarist NILI BROSH Reflects About Her Recent Singles And Musical Inspiration: “I’m Really Trying To Go Where The Music Is Telling Me. You Have To Go Halfway Through My Album Before You Hear A Distorted Guitar” appeared first on Sonic Perspectives.
Founded by the legendary Ian Anderson, Jethro Tull has entered their seventh decade of music-making with no way to slow down. After a pause over the past couple of decades while Anderson released several albums under his own name, Tull returned as a recording entity with 2022’s “The Zealot Gene” and quickly followed up this year with the the rock-infused “Rök Flöte”. Filled with tales and descriptions of Norse gods, the lyrics are set in a poetic form unlike any other Tull album.
Ian explained the album’s title and theme in more detail: “The title of this offering went through a little change or two along the way. I started with the idea of a predominantly instrumental album for rock flute — as in rock music. When the subject material of the album presented itself, I was drawn to the term Ragnarök from Norse mythology — their version of apocalyptic end times or Biblical Armageddon. The ‘final showdown’ scenario is ubiquitous and inherent in Hinduism, Christianity and Islam, for example. Ragnarök translates as ‘destiny of the Gods’, the rök part meaning destiny, course, direction. With umlaut firmly in place, courtesy of the Germanic origins of Old Norse, Flute became Flöte in keeping with the spelling. With me so far? I just can’t miss the glorious opportunity for a good and legitimate umlaut.”
Sonic Perspectives correspondent Scott Medina chatted with *Anderson about the album’s celestial themes, which quickly evolved into an exploration of religion’s shortcomings and promise. Along the way, Anderson provides more insight into the new album’s inspirations and to his current touring schedule which runs through the rest of the year. Join them for this 28 minute chat, and make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube* channel to be notified about new interviews and contents we publish on a daily basis.
“RökFlöte” is available on several different formats, including two limited deluxe formats that include bonus demo material, extensive liner notes and a Blu-ray featuring Dolby Atmos, 5.1 Surround Sound, alternative stereo mixes by Soord, as well as a bonus track and in-depth interview with *Anderson. The album will also be available digitally in the spatial audio formats Dolby Atmos & Sony 360 RA. Order it HERE*.
“RökFlöte” track-listing: 1. Voluspo
2. Ginnungagap
3. Allfather
4. The Feathered Consort
5. Hammer On Hammer
6. Wolf Unchained
7. The Perfect One
8. Trickster (And The Mistletoe)
9. Cornucopia
10. The Navigators
11. Guardian’s Watch
12. Ithavoll
“RökFlöte” Album Artwork“The Zealot Gene”, released in January 2022, was **Jethro Tull****‘s 22nd studio album and it garnered critical acclaim across the board. Reaching No. 9 in the U.K. album charts, a feat the band hadn’t reached since 1972, it also debuted at No. 4 in Germany, No. 3 in Switzerland, No. 5 in Austria, No. 8 in Finland, as well as top 10 in the U.S. album charts, Current Album charts and Rock Album charts.
With more than 30 albums to their credit and sales totaling more than 50 million, *Jethro Tull are one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Anderson, Tull* continue to tour throughout the world, entertaining audiences of all ages.
The band consists of:
- Ian Anderson / Concert and Alto flutes, Flute d’Amour, Irish whistle and vocals
- David Goodier / Bass
- John O’Hara / Piano, keyboards and Hammond Organ
- Scott Hammond / Drums
- Joe Parrish-James / Electric and acoustic guitars, mandolin
The post JETHRO TULL Mastermind IAN ANDERSON Talks Recent Studio Album: “To Say Humans Were Made In The Image Of God Is Just All-Too Convenient And Easy” appeared first on Sonic Perspectives.
Joel Hoekstra will release his third solo album, Joel Hoekstra’s 13 “Crash of Life”, on June 16th via Frontiers Music SRL.
Joel has put forth his latest sonic guitar assault onto the world with “Crash of Life”, and the album delivers precisely what you would expect from the guitarist; crushing and memorable riffs, tastefully melodic solos, terrific guitar tone, and soaring vocals. With each solo album, Joel showcases that he is not only a tremendously talented guitarist but a fantastic songwriter. From the hard-rocking opener of “Everybody Knows Everything” to the infectious “Far Too Deep” to the up-tempo “Through The Night” with its pop sensibilities, Joel has delivered another powerful melodic album that will appeal to any hard rock music fan.
Joel Hoekstra’s 13 is rounded off by bassist Tony Franklin [Blue Murder, The Firm], drummer Vinny Appice [Last In Line, Dio, Black Sabbath], keyboardist Derek Sherinian [Sons Of Apollo, Black Country Communion], and vocalist Girish Pradhan [Girish And The Chonicles].
Pre-order or pre-save “Crash Of Life” AT THIS LOCATION.
“Crash of Life” Album Artwork
Correspondent Robert Cavuoto spoke to Joel about this musically diverse album, how using the same musicians in the band makes it sound cohesive, why he is involved in so many musical projects, and playing a three-minute solo on an instrumental album is no longer of interest. He candidly discusses the financial limitation to taking Joel Hoekstra’s 13 on the road, his plans to meet up with David Coverdale in the next few weeks, and how proud he is of his legacy with Whitesnake. Check out their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new content we publish on a daily basis.
The post JOEL HOEKSTRA Talks New Record “Crash of Life” And His Vision About Them: ‘I Model My Albums as What I Would Want to Hear as a Listener, Not as a Guitarist’ appeared first on Sonic Perspectives.
Prog pioneers YES have had their share of lineup changes throughout their 54-year history, not the least of which are their keyboardists. Geoff Downes came through that revolving door in 1979, resulting in the controversial but impressive album “Drama.” After moving on to co-write blockbuster hits for ASIA along with many other collaborations and projects, Downes rejoined YES in 2011 for the “Fly From Here” album and has been a member ever since.
Geoff talked to us on the cusp of releasing the new YES album “Mirror To The Sky” which finds the revitalized band stretching out once again into longer compositions (Find our own review of the album HERE). Scott Medina talks with Geoff about his role on the album, the impact of using a symphonic orchestra in the latest YES recordings, the sad passing of Alan White, and the future of the band. Join us for this 25 minute chat which includes a few unexpected nuggets of information from the ever-affable Geoff Downes, and make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new interviews and contents we publish on a daily basis.
As they were wrapping up “The Quest”, YES found themselves with song sketches, structures, and ideas that were demanding attention. YES received unconditional support from Inside Out boss Thomas Waber, who encouraged them to keep going in the studio, months before “The Quest” would even be released. It was like throwing gasoline on their creative fire.
“When we delivered everything, and they were just getting the vinyl and everything into production for manufacturing, we were still very much in that creative zone,” explains Steve Howe. “That belief that Thomas had in us really meant a lot,” he says.
“We truly get along as people,” says Jon Davison. “I feel like everyone’s focused inward to the greater circle, concentric to the core of highest standards that define YES. It’s a wonderful thing to witness and of which to play a part. I believe this reflects vibrantly in the music and the creative input that each one is willing to apply, not for the benefit of the individual, but for the greater whole that is YES.”
“Mirror To The Sky” Album Artwork
“There was a lot of material floating around because the band hadn’t done anything in the studio for so long. Ideas were just copious,” says bassist Billy Sherwood. “The pace of it was fast. As soon as we were finished with ‘The Quest’, and the mix had come out, we took a couple of little breaks there to catch our breath. But there was still music flowing around in the loop. It was just constantly being looked at and worked on. As we were all home and in that mode, things started progressing quite swiftly. We just went one album into another without really announcing, ‘Hey, we’re working on a second record right now.’ We just continued to work on material. It came about pretty naturally, and then we refined it as the process went on. But the initial bursts — there was a lot of material around!”
Much to everyone’s delight, including that of longtime fan Thomas Waber, YES have pushed into territory they practically invented — the prog rock epic — albeit in a thoroughly new and modern way.
“I always felt that it would be great to have stuff that’s a little bit more epic,” he says, although he resisted the temptation to push for something that would be too formatted and could come off as contrived. He just gave the band space to do what they do and let things develop. “They were so excited by ‘The Quest’ and the momentum they had that they went straight back into the studio. What they were writing, even early on, was obviously headed in that epic direction — what YES music really is to me. It is almost a genre onto itself. It is ‘YES Music.’ ‘Mirror To The Sky’ certainly is YES Music.”
“Mirror To The Sky” features not one, but four tracks clocking in at over eight minutes, with the sweeping and cinematic title track coming in just shy of fourteen minutes. What’s more, the tracks, like YES‘s best, take the listener on a wide dynamically ranging journey of soundscapes which also showcase Steve Howe‘s dazzling guitars, keyboard wizard Geoff Downes‘s impeccable sounds, exquisite melodies and fills, Jon Davison‘s angelic, crystalline vocals, Billy Sherwood‘s deftly dancing bass and Jay Schellen‘s masterfully controlled explosions on drums.
The post YES Longtime Keyboardist GEOFF DOWNES Talks New Album “Mirror To The Sky” And Band’s Legacy: ‘The Music Will Carry On Long After STEVE and I Are Around. Long May YES Reign!’ appeared first on Sonic Perspectives.
West coast thrash metal veterans Metal Church will release their 13th studio album, “Congregation of Annihilation”, on May 26th via Rat Pak Records (America) and Reaper Entertainment (Europe). This record is the follow-up to their 2018 album “Damned If You Do”, and it’s a pivotal album for obvious reasons: it marks the first release since the tragic death of their legendary front man Mike Howe who passed in July of 2021. It also marks the first album with new vocalist Marc Lopes (Ross the Boss / Let Us Prey) who came on board in the summer of 2022 and features the current lineup of founding guitarist Kurdt Vanderhoof, guitarist Rick Van Zandt, bassist Steve Unger and drummer Stet Howland.
Metal Church continues with their 30-year tradition of combining the heavy and aggressive sound of thrash metal while injecting a good dose of melody and hooks, which is evident on their latest singles, “Pick A God and Prey” and “Making Monsters.” The new songs are a return to the band’s musical roots, harkening back to the vibes of the self-titled first album and “The Dark.”
“Congregation of Annihilation” Artwork
Guitarist and founder Kurdt Vanderhoof comments about the new music affair: “This new album is starting a new chapter in the Metal Church legacy. I really love this album. It’s a fresh approach for us in one way, but also a return to the very beginnings of Metal Church as part of the New American Thrash Metal movement. This record contains some of the most aggressive songs we have recorded. I hope the fans will like it as much as we do.”
“Congregation of Annihilation” features nine tracks infused with intelligent lyrical content, thundering guitar riffs, and Marc‘s aggressive and soaring vocals. It furthers the band’s sonic evolution to the next level, and is guaranteed to enthrall metal music fans worldwide. From the first guitar riff of album opener “Another Judgement Day” through the driving outro of album closer “All That We Destroy,” it is clear Metal Church is back and better than ever. “Congregation of Annihilation,” “Children of the Lie,” and “These Violent Thrills” showcase the sonically charged songwriting that made the early Metal Church albums such fan favorites.
“Congregation of Annihilation” was produced by Kurdt Vanderhoof and is now available for pre-order in various bundle configurations in North America HERE.
Correspondent Robert Cavuoto spoke to guitarist and founding member of Metal Church, Kurdt Vanderhoof, on the importance of continuing with their signature sound, how many songs of “Congregation of Annihilation” were shared with Mike before his passing, how Metal Church’s songs must have positive messages despite how dark they may sound, and what he feels Metal Church stands for. Watch or listen to their all-encompassing conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
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On September 26, 2021 in Louisville, KY, JUDAS PRIEST guitarist Richie Faulkner had a brush with death. He suffered an onstage aortic aneurysm during the performance of the band’s “Painkiller” encore. Somehow finishing the set, Faulkner was rushed to hospital and put through ten hours of emergency surgery. “I’m just lucky to be alive. And luckily we had a short set that day. We were playing before METALLICA, so we had an hour set instead of an hour and 40 minutes, in which case I wouldn’t be talking to you. I wouldn’t have come off that stage alive. The stars aligned: that was the last song and we were four miles away from the University of Louisville’s Rudd Heart and Lung Center, which is one of the mos well-renowned heart hospitals in the country.”
Almost 2 years later, Faulkner is not only recovered but he’s stamping his own seal in the metal music scene with a new band: ELEGANT WEAPONS, being bolstered and emboldened by the regal presence of Ronnie Romero (RAINBOW, VANDENBERG, MICHAEL SCHENKER) along with Dave Rimmer from URIAH HEEP and on drums, Christopher Williams from German Metal veterans ACCEPT. Producing is highly regarded PRIEST, OPETH, MEGADETH, SAXON and ACCEPT producer Andy Sneap, who has been respectful of Richie’s vision concerning a certain classic sound he wanted across the expanse of the record’s 11 songs (ten originals plus a cover of UFO’s “Lights Out”).
Where does the band’s name comes from?
“In almost any endeavor, the craftsman needs the right tools for the job. For a musician, those tools are things like their instruments, their voices and the emotions that the right combination of all those can bring to the surface. You can also consider it a reference to the instruments we play, because they’re almost antiquities now. So yes, it references our instruments and also this kind of music, where we’re carrying on the tradition of the greats like SABBATH and DIO but also bands the guys are connected to, like RAINBOW, PANTERA *and PRIEST*.”
“Horns For A Halo” Album Artwork
Pre-order “Horns For A Halo” at THIS LOCATION.
As for the music, Richie describes it as “a mix of JIMI HENDRIX, PRIEST, SABBATH, solo OZZY and BLACK LABEL SOCIETY, but with a lot of melody, sort of old school and modern at once if that makes any sense, and actually down-tuned a whole step. There are a lot of guitar solos and the songs are on the heavier side. And even though there’s a lot of melody, it’s still going to shake your bones.”
Another mandate of the band is for Richie to propose more fully than he can across a PRIEST record, his own voice or style as it pertains to the guitar. “Yes, everything that you do, without sounding pretentious, is trying to find your own voice and extension of your voice. I’ve been in cover bands all my life. Then you find yourself replacing K.K. Downing and it’s like, ‘Now what am I gonna say?’ I can’t sound like K.K. Downing. I can’t sound like Eddie Van Halen. I can’t sound like Zakk Wylde. So it’s refining and honing what your voice is, constantly fine-tuning what that voice is. And hopefully when people listen to it, they’ll think, ‘Oh, that’s Richie.’ In every song and every solo hopefully there’s that sound, that narrative, that voice, and hopefully it stands the test of time.”
Rodrigo Altaf sat down with Richie to discuss ELEGANT WEAPONS‘s debut album “Halo of Fire”, how he wants to to perpetuate the rich legacy of the traditional proto-power metal invented by the heavy metal titans of the ‘70s and ‘80s, how the recording of the album took place, how he wanted to form a band that evolves into the future, what are his thoughts on a join tour with IRON MAIDEN, and of course what’s going on with the long-awaited JUDAS PRIEST follow up to “Firepower”. Watch or listen to their information-packed conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post JUDAS PRIEST Guitarist RICHIE FAULKNER Talks New Band ELEGANT WEAPONS, Upcoming JUDAS PRIEST Record and More: ‘I’d Like To Do A Big Four Tour Of British Metal, As A Fan I Couldn’t Imagine A Better Tour Than MAIDEN And PRIEST’ appeared first on Sonic Perspectives.
Often wonder and been intrigued by what life is like working, managing or being an artist, a rock star? Traveling to foreign countries, seeing the sights, feeling the energy of live audiences, night after night, and experiencing firsthand the screaming fans? It’s not always glorious or glamorous; in fact, there is more to it than you think. One thing for sure, it takes a lot of people to make it happen, with lots of talent, dedication, and nerves of steel to deal with the unknown day after day. It’s hard work, it’s a life like no other. If you’re lucky enough to experience it, love it, and embrace it for what it is, it can be yours for a lifetime.
Rikk Feulner has spent over four decades as a tour manager, working with some of the most iconic musicians in rock and country music: The Eagles, Robert Plant, Johnny Winter, Keith Urban and Dream Theater, just to name a few. Having crisscrossed the globe countless times, he has accumulated a wealth of experiences and stories that he now shares in his new book “Stars Don’t Carry Their Own Baggage”. With an insider’s perspective on the music industry and a deep love for the craft, Feulner offers a fascinating glimpse into the world of touring and the people who make it all happen.
“Stars Don’t Carry Their Own Baggage” Cover
“Stars Don’t Carry Their Own Baggage” is the story of up-and-coming 80’s rock band Cherry Thieves. but this isn’t your typical rock-n-roll origin story, this is the early days of a band through the eyes of their tour manager. Get the inside scoop, hear the untold stories, and find out if Cherry Thieves can survive their first world tour, and each other…
To get an insider’s view of Rikk‘s experience and how they reflected in a fictional way on his new book, restless interviewer Rodrigo Altaf sat down with Feulner for over half an hour, to discuss about his life on the road and how thousands of anecdotes shaped the pages of “Stars Don’t Carry Their Own Baggage”, what it takes for someone to be a great band manager, and of course, you can expect some Dream Theater insight, like who were the worst opening act for them, and what to expect from their upcoming summer tour. Watch or listen to their entertaining conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
Order “Stars Don’t Carry Their Own Baggage” from any of the following links: Amazon | LuLu | Barnes And Noble
The post Music Industry Veteran & Longtime DREAM THEATER Tour Manager RIKK FEULNER Talks New Book, Life on The Road and Upcoming DREAM THEATER Summer Tour: “DREAM THEATER Don’t Get to Play Any Festival in the US, So They Created Their Own” appeared first on Sonic Perspectives.
Formed in New York City in the late 1980s, WINGER soared to immediate success with its 1988 self-titled release. The album spawned the hit singles “Seventeen” and “Headed For A Heartbreak” and achieved platinum sales status. “Winger” also stayed on The Billboard 200 chart for over 60 weeks where it peaked at #21. Their next album, “In The Heart Of The Young”, also achieved platinum status behind the singles “Can’t Get Enuff” and “Miles Away”.
The change in musical climate of the mid-’90s, compounded with unprovoked ridicule on MTV‘s popular “Beavis And Butt-Head” show, led the band to go on hiatus in 1994. In 2001, WINGER reunited and has not looked back since. Kip Winger also earned a 2016 Grammy nomination for the classical album “C.F. Kip Winger: Conversations With Nijinsky”, recorded with the San Francisco Ballet Orchestra.
Initially marketed based on the look of their lead singer – Kip Winger – the high-quality musicianship of the band tends to get overlooked. Reb Beach, the guitarist, has received recognition from other musicians for his exceptional skills, and along with ex-Dixie Dregs drummer Rod Morgenstein and keyboardist Paul Taylor, form a trio which brings a unique progressive metal influence to many of their songs; including well-crafted, and played impeccably passages, with unexpected melodies, riffs, and guitar solos that keep the listener off-balance. WINGER are also one of the only bands formed during the late ’80s that still features all original members. Guitarist John Roth was added in 1992.
The band’s upcoming album “Seven” is set to be released on May 5th this year and – you guessed it – will band’s 7th studio album. It promises to be a great addition to their already impressive discography, with the two video singles already released, proving the band is aging as fine wine.
“Seven” Album Artwork
Pre-order “Seven”on CD/LP/Digital HERE.
To know in details what went down during the inception of “Seven”, our restless interviewer Rodrigo Altaf sat down with Kip Winger for a relaxed chat peppered with interesting facts and details about the record, their upcoming tours and much more. Watch or listen to their entertaining conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post KIP WINGER Reflects About Creation Of Upcoming Album “Seven”: ‘This is Likely The Most Pure WINGER Album to Date, We Drew On The Inspiration For Our First Record and Brought Things Full Circle’ appeared first on Sonic Perspectives.
The roots of the band We Came from Space go back more than 45 years, when 11-year olds Bill Hubauer and Dave Buzard got to know one another in school. They started listening to new rock music in Dave’s basement. They listened to great groups as they group up, including Kansas, Gamma, and many more. And like a lot of teenage boys, they played a lot of air guitar, until they decided to try to pick up real instruments. And before long, they became determined to start their own band, each learning to play guitar.
Hubauer and Buzard played in bands, but not together. And each went into a real day job, playing music in the evenings an on weekends. But they never gave up on the thought of performing together. It would take another 33 years for that band to come to reality. They called it We Came From Space and focused on Prog-Rock. Their first album, “How to be Human”, came out in 2013. The second, “While You Were Away,” was released five years later.
The newest record just came out. It’s called “Overlords” – and it’s an album about power (or lack of it), missed communications, fame (and the toll it can take), and more. And it shows Hubauer and Buzard (along with bassist Dave Hawk and drummer Tim Malone) at the top of their game, adding a little jam band sound to their prog-rock base.
The album can be ordered in physical format AT THIS LOCATION and purchased in its digital variants HERE.
Recently, Bill Hubauer and Dave Buzard spoke with our youngest contributor Mark Boardman about the new album – and what it was like those many years ago to get turned on to new rock. Watch or listen to their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post WE CAME FROM SPACE’s Guitarist DAVE BUZARD and Keyboardist BILL HUBAUER Discuss Recent Album “Overlords”: If You Listen To The Whole Record, It’s Like Flipping Up The FM Dial In The ’70s…” appeared first on Sonic Perspectives.
The one, the only, the original L.A. Guns with Tracii Guns and Phil Lewis will be releasing their next studio album, “Black Diamonds”, via Frontier Music SRL on April 14, 2023.
The band continues to capitalize on their reunion, musical strength, and momentum from “The Missing Peace” [2017], “The Devil You Know” [2019], and “Checkered Past” [2021]. Tracii and Phil are joined by Johnny Martin [bass], Ace Von Johnson [guitar], and Shawn Duncan [drums], and together crafted songs that have revitalized and redefined L.A. Guns.
L.A. Guns is a band that truly embodies the spirit of rock & roll and “Black Diamonds”continues to see their rebellious spirit drive the band to double down on their combination of tightly wound riffs, rhythmic fury, naked emotions, and pushed-to-the-edge vocals, with songs like “Wrong About You,” “You Betray,” and “Shame.” “Black Diamonds” sees the band taking a more bluesier approach musically with matching lyrics about relationship struggles. Together they are rewriting the limits of hard rock vernacular, and the result of this new album is proof of that.
No L.A. Guns album would be complete without a powerfully haunting ballad, and the boys do not disappoint with “Diamonds,” which is sung with a true sense of passion and on equal par with “Ballad of Jayne.” The undeniable chemistry between Tracii and Phil is evident again on this powerful bluesy-based release. These veteran rockers are not taking their foot off the gas and delivering another powerfully sonic album.
“Black Diamonds” Album Artwork
Pre-orders for “Black Diamonds”can be found HERE.
Correspondent Robert Cavuoto spoke with Phil Lewis about the creation of “Black Diamonds”, the headspace they were in a while creating these bluesy songs with fitting lyrics, why he considers this a relationship break-up album, he and Tracii still have some healthy friction that fuels creativity, why he will never write an autobiography, and in the 80s what you saw was what you got with L.A. Guns’ look and lifestyle, they lived being a rock star 24/7.
Watch or listen to their all-encompassing and fascinating conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post PHIL LEWIS of L.A. GUNS on New Album “Black Diamonds”: ‘It’s About Five Guys Getting in a Room and Sweating it Out to Write and Record, the True Essence of Being in a Band’ appeared first on Sonic Perspectives.
For four decades, OVERKILL have been the trailblazers in producing some of the most signature moments in the world of metal. On April 14th, the New Jersey Thrash legends will bludgeon your ears with their twentieth studio album, entitled “Scorched” via Nuclear Blast Records.
Overkill is vocalist Bobby Blitz, DD Verni on bass, Dave Linsk on guitar, Jason Bittner on drums, and Derek Tailer on guitar. One would be hard-pressed to find a more consistent and prolific band than these Garden State dudes. Through their four decades of existence, they have made a point of releasing a new album every two years, no matter what. Whatever challenges came their way – lineup changes, market shifts, economic crises – they always catered for the fans, in a way that is unparalleled in thrash metal.
“Scorched” Variants
Unfortunately, COVID put a stop to their strategy, and the follow up to 2019’s “The Wings of War” had to wait a bit longer to see the light of day. Luckily, this meant the band had more time on their hands, and they could focus a little more on the songwriting and production this time. And maybe the extra time that they never had came in handy, because the new album is a banger!
The ten new tracks of “Scorched” showcase the different influences of Overkill, in a much more varied way that its predecessor. The heavy blues of “Wicked Place”, the thrashy “Twist of the Wick” and the moody “Fever” are a perfect example of how to explore different avenues without losing sight of one’s own identity. Make no mistake: this is Overkill to their very core, although more nuanced than before. It’s a clear sign of evolution from a band that realized they don’t need to be pounding the pavement at every given opportunity.
Although the band has gone through several lineup changes, two original members have been part of each and every step they took: DD Verni, whose bass lines manage to slip through the cracks of the barrage of guitars, no matter how loud they are; and Bobby Blitz, who created an inimitable singing style. Bobby’s voice remains an unstoppable force, and challenges nature by becoming better as time goes on.
As the spokesman of the band, Bobby sat down with interviewer Rodrigo Altaf to talk about the different aspects of “Scorched”, the budget challenges of touring, the ideal touring lineup and much more. Watch or listen to their entertaining conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post OVERKILL’s Frontman BOBBY BLITZ Talks New Album “Scorched” And Keeping The Band Afloat In The 90’s: “Maintaining The Ship On Course When Things Were Tough Is One Of Our Crowning Achievements” appeared first on Sonic Perspectives.
If there is one band determined to make up for lost time, that band is Helloween. After successfully reuniting with two former members (Michael Kiske and Kai Hansen) on a tour, one question remained: what would the seven-headed beast that they became work in the studio? The question was answered with the self-titled release in June of 2021. Full of symbolism from the cover to the recording process, “Helloween” was the coronation of the “Pumpkins United” success, and a silver lining in the tough years of COVID.
Produced by Charlie Bauerfeind and Dennis Ward, the album was recorded in part at the H.O.M.E. Studios in Hamburg, where their story started in 1984. The same recording console used for “Master Of The Rings”, “Time Of The Oath” and “Better Than Raw” was utilized to record the new material. The band recorded fully analogue and drummer Daniel Löble played the drum kit previously used by their original drummer, the late Ingo Schwichtenberg, on the legendary “Keeper Of The Seven Keys” recordings.
As mentioned in our review of the album (which you can read HERE), the band’s 16th release channels the magic from their heyday, while maintaining their more recent stylistic choices. “Helloween” is truly a feast for every fan’s ears, and a clear evidence that when musicians with such chemistry leave their egos at the door, the best results are achieved.
After a five-year absence, Andi Deris (vocals), Michael Kiske (vocals), Michael Weikath (guitars), Kai Hansen (guitars and vocals), Markus Grosskopf (bass), Sascha Gerstner (guitars) and Dani Löble (drums) are ready to tour North America again. The highly successful “United Forces” tour, with fellow Germans of Hammerfall, will hit the US and Canada in the spring, with thirteen dates, beginning in Dallas on May 13th.
In preparation for the tour, Sonic Perspectives interviewer and über Helloween fan Rodrigo Altaf sat down with Michael Kiske. They discussed the rehearsals, his time outside of Helloween, the connection with other band members, his influences and much more. Watch or listen to their animated chat below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post MICHAEL KISKE of HELLÖWEEN Talks Upcoming Tour and “Pumpkins United” Line-Up Chemistry: “The Spirit We Managed to Create As a Band, Jumps Over to The Audience” appeared first on Sonic Perspectives.
The lyrics of the Who’s “My Generation”, “hope I die before I get old” certainly do not apply to Rick Wakeman. At 73 years old, he remains a staple of the live circuit, and has no intention of slowing down.
Rick’s latest album, “A Gallery of the Imagination”, explores many different styles, much like an art gallery showcases different types of sculptures and paintings. It contains many clear prog influences, especially in the Moog solos and there are also two solo piano numbers, which reflect Rick’s classical roots and show influences from the Romantic period. Equally important is the strong song and melodic influence on the album, with eight unconventional vocal tracks, with Rick’s distinctive descriptive music carefully arranged around the lyrics.
Examples of the variety contained within the album are the fun yet wistful elements in “A Day Spent on the Pier”, a track describing time spent at the seaside, written in Southwold and evoked by Rick’s own memories of happy childhood days spent on the helter skelters in Brighton and Clacton and on the pier in Southsea. Rick wrote “The Eyes of a Child” with his thirteen grandchildren in mind, aware of the responsibility of trying to fix the world for following generations, whereas “Cuban Carnival” celebrates the light-hearted fun times Rick spent in Cuba with his band, the English Rock Ensemble.
Currently touring the US in March and April, Rick Wakeman took some time to talk to long time Yes fan and Sonic Perspectives collaborator Rodrigo Altaf, when pre-production and rehearsals for the tour were taking place. You can read their chat below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
Interview Transcript:Let me start by asking you about the upcoming tour in the US. I’m assuming you’re doing pre-production now. what can you reveal of the shows?
It’s a one-man show. I mean, I’m really lucky. I do about four or five different kinds of shows, which is great. It’s a great variety. This particular one is the one-man show. I have a piano, a couple of keyboards and I play music that I’ve been associated with throughout my life, such as Yes, obviously, David Bowie, Cat Stevens, even The Beatles, all sorts of different music and then some of my own. And then in between I tell lots of stories about things that have happened to me, all quite funny, all quite silly, and some of them even have a semblance of truth to them. So it’s almost like having everybody around for dinner.
Excellent! And you recently released an album called “A Gallery of Imagination”. Can we expect to hear some songs from that, or do you keep that for a separate kind of show?
On that album, there are songs with a band, and then there’s two piano tracks. And I’ll probably play both the piano tracks on the show.
Okay. And what is the intention with the English Rock Ensemble? Are you planning a tour separately with a band setting to play those songs or not?
Yeah, we just played two nights in London to sold out crowds, which was great. And the band is so good, and already they’re looking at dates for probably next year, for us to come over and do a tour with them. This is something I’ve not done with the band in America for many, many years. So that will be great.
Is North America a tough market to crack for that kind of music, or do you find it’s receptive?
It’s not. I’ve discovered over the years that it has a very dedicated following of people who love the music. And they know what they like and they like it done properly and they like it done well. So if you do that, then it’s a great relationship. You’re never going to sell out a stadium, but you certainly can get enough people in to make it very worthwhile and very enjoyable.
Photo by Joel Barrios
Absolutely. And speaking of the album, I think in a way, “A Gallery of Imagination” is kind of full circle for you because it’s inspired by your first piano teacher, right?
Yeah, that’s true. It is. From when I was five years old, one of the first things she said to me is “You are a musical painter. You’ll be painting pictures to music” and “I want you to, after you’ve learned a piece, you’ve read the music, you’ve learned it, close your eyes and paint pictures.” And I did that, and I still do that to this day. I really do. People have often asked me why I spend more than half of a concert with my eyes closed, and it’s because I’m doing exactly that. I’m painting pictures and what’s interesting, they’re never really the same pictures. And it just occurred to me: how nice would it be if I did an album where I could encourage people to paint their own pictures to the music? So that’s exactly what I’ve done. And you’re right, it’s a full circle. Yeah.
And I like how all those songs are very personal to you. “A Day On The Pier,” for example, comes from your childhood memories, correct?
Yeah, very much so. I have my own personal memories related to the pieces, but I’m very interested to find out what other people’s memories are when they listen to the music. I’ve already had quite a lot of people in the UK reach out to me, and I’ve had an amazing response from people who have got their own stories and a lot of people who are doing everything from painting their own, actually physically painting pictures, to doing sculptures, to doing all sorts of things. Which is lovely because art is connected. One of the things we’re looking at doing over here in the UK in May is renting a space and turning it into a gallery, and inviting people to bring along anything that they’ve done that has been inspired by the music, and having an evening doing that. And if that works, then we’ll take it around a few places.
Whoa, that should be great! I can share what I did with one of your songs. I didn’t paint anything, but I listened to “A Mirage in the Clouds” with my daughter, and she loved it too. She’s eight and she has a great sensibility for music, so thank you for that.
Oh, great! Yeah, thank you!
And “The Eyes Of A Child” is a message to your grandkids in a way. As a parent, I can definitely relate to that message of trying to fix the world and all these issues that were leaving to the further generations.
Exactly. I mean, I have six children. I say children, but the oldest boy is 51. And I have thirteen grandchildren, and I’m very aware of the mess that they’re being left. So, that was very, that particular trade is very much down to kids. They’re not a lost as we sometimes think they are. They know full well what we’re leaving them with. It was important to me to try and simply get that message across. And also, one of the lovely things about children of all ages is that they don’t put a date stamp on music. They either like it or they don’t. And that’s how music should be. There shouldn’t be a date stamped on it, although there has been a lot of that for years. “Oh, that’s a 70’s track. That’s a 90’s track.” No, it’s a piece of music and you either like it or you don’t. So, I’m thrilled that the new generations don’t think like perhaps we used to.
Photo by Joel Barrios
A few years ago you were part of a very successful show in the UK called Grumpy Old Men. I’m turning 50 next year and I find out more and more I can relate with being Grumpy [laughs]. What is it about getting older and getting more and more annoyed with everything? [laughs]
Yeah. You know, it’s interesting. I was very lucky I was on every single program. It was huge over here, absolutely massive. And the guy, Stuart Prebble, who devised in and produced the original one, it was done very cleverly. We didn’t know the subjects. We would be put in a room camera put in front of us, and he stand behind and go: “women drivers,” and away you go, you just talk. And then he edited it all afterwards, it was great fun. But I asked him how it all started and he said he was in a wine bar. About six o’clock one evening after leaving the TV studio. And he said there were two guys sitting there, businessmen. And one of them said, “I’m fed up with the train. The train was delayed again. I was delayed this morning coming in, when I had to change trains. The other train never showed up. It was full up, it was dirty, I couldn’t even get a coffee. It’s absolutely disgusting.” And, and then the other guy said “yeah, no, you’re absolutely right.” And then he said, “well, I’ve gotta go. See you on the platform at eight tomorrow.” [laughs]. And he said, that summed it all up that we have a good moment, vent about it but then bam we just got on with it. And he said, I decided that the grumpiness is funny. You don’t get angry, because it’s all true, but you have to laugh about it. And he started thinking this would be a great, great bit of fun for a program. And then he said, “and the first one I thought, I’ll have to get Rick on this because he’s grumpy.” And it’s very true. We do moan about things, but we can’t do anything about it. And you end up laughing. There’s nothing you can do. I mean, I’ve got some good friends in parliament here in the UK. One of them actually said to me – we were talking about protests. And he said “the truth is we like protests!” [laughs]. And I said, “why?” He said, “because often or not people will have a march, they’ll calm down and they’ll end up having parties and concerts at the end of it, they get it out, they’ll have a lovely time and then they go home.” And nothing gets done, nothing changes. He said “we get more worried when nothing happens.” We go “what are they doing?” Amazingly enough he said, these are peaceful protests. And they do a bit of good at the end of the day because it points a few things out and we can get on to do it. But in general, we’re more worried when nothing happens.
Yeah, a hundred percent! And I’m curious about your recording of “Space Oddity” with David Bowie. When you guys created that track, did you get a sense that you were doing something that would last so long?
I can honestly say yes I did. I played the Mellotron on that, on that particular track. We did it in three hours, in and out. And that’s when David Bowie and I became really good friends and he said, “listen, you’re a piano player, would you come and do some piano for me?” I said “yeah!” And that was the start of the friendship. And “Space Oddity,” when it was finally mixed and done, it was actually the very first stereo single in the UK on the Phillips label. It’s quite unique if you can find one on the Phillips label, that’s a real bit of history. But when I heard it, I thought “this is so, so different to anything being played on the radio!” It was 1969 and it was just so, so different. And I was convinced that it would be a big hit. It was a sort of a minor hit first time around. I think it got top 10, something like that, just in. But it didn’t make number one until it was re-released in 1974, I think it was. It was just a great, great song, our great track. I play it sometimes on stage. I’ve also performed it with different people over the years, which has been great, same as I have done with “Life on Mars.” He was such a great songwriter. He was way ahead of his time, David, and bless him even though he’s up in stardust heaven. He’s still an amazing influence on so many people!
Photo by Joel Barrios
He is indeed. And I think people always ask you about your acceptance speech at the Rock and Roll Hall of Fame, and that was awesome by the way. But as a Rush and Yes fan, I must ask you about playing with Geddy Lee on that occasion. What did it feel like?
Oh, it’s great. I mean, I’m a big Rush fan. I’ve known the guys for quite a long time, quite a few years. So that was a lovely to have Geddy with us. He was the perfect choice to come and play that. He was great. The speech wasn’t meant to happen. I was actually planned just to say the usual “thank you”. And then I was standing up there, Trevor Rabin on one side and Jon Anderson on the other. And as people were saying their thank yous, I noticed the noise from the audience getting louder and louder. Cause everybody was talking, nobody was listening. They just wanted to hear the bands playing. And I thought, oh, this is it! Trevor knows I do a lot of standup comedy over here in the UK. And he said, “liven it up Rick, for heaven’s sake.” And I said, “I can’t do it.” He said “go on, go on, go on” [laughs]. And John went “yeah, go on, go.” And I hadn’t planned anything, so I thought, well, I’ll go up, I’ll do a one-liner and if it goes down quite well, I’ll do a bit more. So I went up and I did a line about my first sexual experience, and the place went quiet and then burst into laughter. And then he went quiet again. And I thought, “it’s just like doing a, a standup show. They’re waiting for the next joke!” So I enjoyed myself and went on and it was interesting. I thought, “well, I’m, I’m probably gonna get shot at, you know, for doing this” [laughs]. But the reaction was actually fantastic. And I had all sorts of people call me to talk about it – Eddie Van Halen, you name it! They call me and said, “thank God somebody’s done something like that!” And it’s nice to know that it’s become a bit more lighthearted, with the acceptance speeches since then, which is great. So maybe I, maybe I got something right.
Maybe! [laughs]And that show was as close as we’ll ever get to what Yes did on the Union album and tour. And I know some of the members do not appreciate that Union experience. What’s your take on that time in Yes’ history?
I loved it. I loved it. It was a unique thing. There was eight of us who’d been involved with the major albums and tours at that time. And I loved it. I thought it was brilliant for both the band, the music and for people to come along and see something a little, well, quite as I would say, a little different. Quite a lot different. I’ve had a hell of a time, I thoroughly enjoyed it and it could never be repeated. I mean, there was talk of another reunion, but I said, “absolutely no way.” Because, we don’t have Chris Squire anymore. We don’t have Alan White anymore. You just can’t do it. You know, let’s have the great memory of what we did.
I agree! And for me, the general rule in music is you have one idea, you write one song, you have two ideas, you write two songs and so on. But in Yes, that rule is completely subverted because one song like “Siberian Khathru,” for example, one of my favorites, could have a million ideas thrown in together and it works so well. At what point did you guys say “okay, the song is ready, it’s done, let’s record it”?
Well, we always rehearsed together for about two months before we went in the studio. And then the pieces were developed and I would think they were probably 75% ready when we went into the studio. And then the last 25% happened in the studio. And so they were ready when we finished in the studio, really. Bill Bruford always used to say “everything is time allotted.” When it’s finished in the studio and it’s recorded and it’s mixed, it’s done, that’s it. Because you can always go back and redo and re-add and redo forever and ever and ever. And sometimes that’s the wrong idea. It’s the best idea to just to let it take its natural course, and see how long ends up to see what it is as a piece. I think that’s the right approach. I’ve always tried to do that as well. If I write a piece of music, sometimes it’ll end up having four minutes. Sometimes it’ll end up having fourteen minutes. You know, it is what it’s meant to be. You can’t contrive. And that was the great thing about Yes, it allowed music to be what it should be.
Photo by Joel Barrios
Absolutely. Well, Rick, thank you so much. All the best with the upcoming tour and with the new releases and new plans for the year.
That’s very kind, Rodrigo. Thanks very much my friend!
With over 50 million albums sold in five decades and an enviable reputation as a wit and raconteur, AN EVENING WITH RICK WAKEMAN: HIS MUSIC AND STORIES will be an opportunity to share musical memories and riotous reflections in the company of a true rock legend!
RICK WAKEMAN 2023 US TOUR (Tickets for all shows will be available through RWCC.com and each local theater’s ticketing site)
March 25 – Clearwater, FL Capital Theatre @ Ruth Eckerd Hall
March 27 – Atlanta, GA Variety Playhouse
March 30 – Bethlehem, PA Wind Creek Events Center
March 31 – Atlantic City, NJ Sound Waves Theater @ Hard Rock Hotel & Casino
April 1 – Montclair, NJ Wellmont Theater
April 3 – Red Bank, NJ The Vogel @ Count Basie Theatre
April 4 – Ridgefield, CT Ridgefield Playhouse
April 5 – Huntington, NY The Paramount
April 6 – New York, NY City Winery
April 9 – Derry, NH Tupelo Music Hall
The post RICK WAKEMAN on Playing with YES Again: “Without CHRIS SQUIRE and ALAN WHITE, it Could Never be Repeated” appeared first on Sonic Perspectives.
In 2018, Kamelot released “The Shadow Theory” to critical acclaim. After five years, Kamelot now returns with their next full-length studio album, “The Awakening,” due out on March 17th via Napalm Records. The album’s lead single “One More Flag in the Ground” has amassed more than 430,000 streams on Spotify and 435,000 views on the official music video. With thirteen tracks and features by three guest musicians, including Grammy-nominated cellist Tina Guo and Melissa Bonny (Ad Infinitum), “The Awakening” promises to be one of the most exciting albums from Kamelot in the last decade.
Vocalist Tommy Karevik first joined Kamelot more than a decade ago, with his first studio appearance on “Silverthorn” in 2012. “Haven” followed in 2015, with another three years passing before “The Shadow Theory.” Karevik is also known for his role as the vocalist and front-man of Seventh Wonder, which released “The Testament” in 2022, and toured in support of the album shortly after.
“The Awakening” is not a concept album as some of Kamelot’s prior works, but a cinematic collection of emotion and poetry that seeks to inspire its listeners. From moving ballads like “Midsummer’s Eve” to the supercharged “My Pantheon,” Kamelot pays homage to its roots with moving hymnal sections while keeping its modern intensity. Old and new fans alike will find something to love in “The Awakening.”
Although Karevik has been busy as the face of two power-metal powerhouses, he took the time to speak with Sonic Perspectives contributor Samantha Buckman about “The Awakening.” Tommy discussed the themes in the album, the fears he has had to overcome in his career, and the possibility of solo material in the future, along with much more. Listen or watch their conversation below and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new interviews and contents we publish on a daily basis.
Pre-order “The Awakening” HERE
Having reigned supreme with the release of internationally top-charting melodic metal pinnacles such as “The Fourth Legacy” (1999), “The Black Halo” (2005), “Silverthorn” (2012), “Haven” (2015, #1 US Hard Rock Albums), and most recently 2018’s acclaimed “The Shadow Theory” (#2 US Hard Music Albums), The Awakening enters the KAMELOT legacy as their most massive and diverse offering yet – mixing symphonic, gothic, melodic, progressive and power metal styles while yielding some of the heaviest tracks in the band’s history.
KAMELOT guitarist Thomas Youngblood says: “With The Awakening, we have one of our most diverse albums in years. We’ve fused elements from progressive, power and gothic metal to symphonic and melodic metal on this one. Working with incredible guest artists from around the music industry and having producer Sascha Paeth and Jacob Hansen mixing gave us another step up on overall sound. This album offers everything to KAMELOT fans and also reaches beyond borders to new metal and hard rock legions.”
Showcasing the incomparable, stage-seasoned vocal acrobatics of Tommy Karevik and increasingly airtight, renowned technical teamwork of guitarist Thomas Youngblood, drummer Alex Landenburg, keyboardist Oliver Palotai and bassist Sean Tibbetts, The Awakening embraces enlivening themes that every listener can relate to. KAMELOT’s intense brand of ultramodern gothic and symphonic theatricality is amplified further and with more emotionality than ever on this inspiring, anticipated addition to the KAMELOT legacy.
“The Awakening” Album Artwork
“The Awakening” Track-Listing:1. Overture (Intro)
2. The Great Divide
3. Eventide
4. One More Flag in the Ground
5. Opus of the Night (Ghost Requiem)
6. Midsummer’s Eve
7. Bloodmoon
8. NightSky
9. The Looking Glass
10. New Babylon
11. Willow
12. My Pantheon (Forevermore)
13. Ephemera (Outro)
KAMELOT are one of few bands in the symphonic genre to fully embrace the dark, but of course, there can be no light without it. Inspiring, engaging lyrical themes of determination, strength, overcoming personal battles and growth are abound on “The Awakening”, provoked by extreme societal shifts and the overwhelming realization that we have such a brief time to be true to ourselves and live life to its fullest.
With crystal clear modern production helmed by the band and longtime producer Sascha Paeth, plus mixing and mastering by Jacob Hansen of Hansen Studios, KAMELOT’s score-like 13th studio album is accented by guest contributions from the likes of Melissa Bonny (Ad Infinitum) and renowned instrumentalists like violinist Florian Janoske and Grammy nominated, soundtrack-featured cellist Tina Guo.
“The Awakening” will be available in the following formats:
- Digital Album
- CD Digipak
- CD Digipak + Shirt Bundle – Napalm Records exclusive
- 2-LP Gatefold Vinyl Black
- 2-LP Gatefold Vinyl in Splatter Red + Black – Napalm Records exclusive (European webstore), limited to 500
- 2-LP Gatefold in Marbled White + Black – Napalm Records exclusive (North American webstore), limited to 300
- 48p Earbook with 7” Vinyl Single – Napalm Records exclusive, limited to 500
- Wooden Boxset with Envelope Opener, Flag, Patch and Band Postcard – Napalm Records exclusive, limited to 1000
- Music Cassette – Napalm Records exclusive, limited to 100
KAMELOT are:
- Tommy Karevik / Vocals
- Thomas Youngblood / Guitars
- Oliver Palotai / Keyboards
- Sean Tibbetts / Bass
- Alex Landenburg / Drums
The post TOMMY KAREVIK Talks About KAMELOT’s Upcoming Album ‘The Awakening’: “For Me, Success is Telling Stories that Resonate with People” appeared first on Sonic Perspectives.
“Everybody shout: heavy metal’s back”. The lyrics on Steel Panther‘s first ever song, “Death to All But Metal”, still ring true after so many years, and they do so especially when a new album by these kings of debauchery comes out.
“On the Prowl”, the new release from the Los Angeles-based quartet, came out on February 24th, and carries all the elements that made them famous: 80’s hard rock with in-your-face lyrics, anthemic choruses and a slap in the face of political correctness. Through its thirteen tracks, Steel Panther addresses modern themes such as the damage done by Instagram filters, cryptocurrencies, Tinder and Snapchat. Male insecurities are explored on “Is My Dick Enough” and “Sleeping on the Rollaway”, while human anatomy is addressed on “Magical Vagina” and “All that And More”.
Recording the follow up to 2019’s “Heavy Metal Rules” during the pandemic meant that a new process had to be in place. Due to the isolation caused by COVID, the band had to do writing sessions using online meeting apps. However, the material of “On the Prowl” is on par, if not better than their recent releases. The band stayed active during the lockdowns and did a few livestreams – one of which was reviewed by us. On the second half of 2021 they returned to the stage and to the traditionally hectic touring schedule.
Sonic Perspectives collaborator Rodrigo Altaf took some time to discuss the new album with Steel Panther‘s singer Michael Starr. They spoke about the recording process, the preparations for the upcoming tour, how many girls he has slept with and many more raunchy subjects. Watch or listen to their animated chat below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post MICHAEL STARR On STEEL PANTHER’s New Album “On The Prowl”: “Writing An Album During the Pandemic Was Easier Because We Weren’t Partying So Hard” appeared first on Sonic Perspectives.
Steve Stevens is most notably recognized as the guitarist for Billy Idol, a partnership for over 40 years that has produced countless Top 10 singles and platinum albums. He is one of the most gifted guitarists to emerge from the 80s music scene and remains an influential musician today.
At a very early age, Steve combined his love of folk rock, progressive rock, the blues, and punk to forge his unique approach to playing guitar, which ultimately helped propel the band to become one of MTV’s earliest video stars. Together they released Billy Idol‘s 1982 debut album, “Rebel Yell” in 1983, and “Whiplash Smile” in 1986, all of which delivered multiple blockbuster hits. Their music has been the soundtrack to our lives, and they continue to add to it year after year!
The courage to try something different separates the guitar innovators like Steve from the followers. To break the rules and rewrite them at every opportunity. To challenge himself until something completely new and unique is created that he can call his own. Steve should be added to the very top of the short list of guitar innovators as he continues to break down walls in guitar playing while always serving what is best for the song.
In September 2022, Billy Idol released the explosive, “The Cage” EP, and in 2021 the haunting and sonically powerful, “The Roadside” EP that included the Top 15 hit “Bitter Taste.” Together they will take North America by storm this spring with a headlining tour encompassing 16 cities. The tour will kick off on March 30th in Scottsdale, AZ, and conclude at Pasadena’s Cruel World Festival on May 20th. They will perform a collection of hits from their career as well as new music from their two most recent EPs. Tickets for the Billy Idol Live 2023 Tour are available HERE.
Correspondent Robert Cavuoto had an in-depth conversation with Steve about their successful formula of releasing EPs rather than full-length albums and how he and Billy will start to work on their next EP on March 6th. He provides some key insights into his guitar playing and techniques, what fans can expect from the band on their upcoming North American spring tour, and the massive number of guitars and gear accompanying him on tour so he can deliver a sonically powerful performance. Watch or listen to their all-encompassing and fascinating conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post STEVE STEVENS Talks BILLY IDOL Upcoming Spring 2023 Headlining Tour: “After 40 Years of Making Music, I Want to Replicate Those Songs Live Exactly as Recorded Because the Fans Deserve It” appeared first on Sonic Perspectives.
MOTÖRHEAD, the iconic Godfathers of heavy metal, recently unleashed their newest release, entitled “Bad Magic: Seriously Bad Magic”, which is the ultimate reissue of the band’s swansong album “Bad Magic.”
At the time of its release back in 2015, “Bad Magic” arrived as a massive kick in the teeth for anyone who believed MOTÖRHEAD were going to amble along into a peaceful little pasture containing fluffy little lambs, folk music and perhaps the odd medieval lute here and there. Big-rig head crushers such as “Thunder & Lightning” and “Teach Them How To Bleed” brought such people to their knees begging for forgiveness, as the album unfurled into their toughest, leanest, meanest and most uncompromising album in aeons. Much of this came down to long-time producer Cameron Webb getting the band to record live at NRG North Hollywood, Maple Studios and Grandmaster in California together for the first time in the Kilmister/Campbell/Dee era, and from the crackling punk energy of “Electricity” to Brian May of QUEEN‘s scintillating guest-appearance on “The Devil”, a vast wealth of aggression, attitude, and excellent songwriting was cultivated in that furious working environment.
Phil Campbell didn’t just record possibly his finest guitars, he threw down most certainly his best solos for decades, while Mikkey Dee‘s drumming found new tribal resonance with the MOTÖRHEAD sound he had helped nurture. There was also one of Lemmy‘s rawest lyrical life reflections on “Till The End”, and a cover of THE ROLLING STONES‘ “Sympathy For The Devil” which made the song feel like one of their own. One of the hidden gold-dust additions to “Bad Magic: Seriously Bad Magic” is MOTÖRHEAD‘s famous, and internationally acclaimed, version of David Bowie‘s classic “Heroes”. Originally slated for inclusion on the last release only to be withdrawn at the last minute, it was a cover version which Lemmy had a great affection for, and as such its inclusion here is both fitting and just.
Sonic Perspectives flagship interviewer Rodrigo Altaf sat down with MOTÖRHEAD longtime drummer Mikkey Dee to discuss the ins and outs of this release, while at the same time reflect about his long career in metal, and even his appearances in one-time records. Watch or listen to their animated chat below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
“Bad Magic: Seriously Bad Magic” was released on double 12-inch vinyl, CD digipak with bonus disc, limited-edition boxset, digital download and streaming. Order it HERE.
“Bad Magic: Seriously Bad Magic” Album Artwork
“Bad Magic: Seriously Bad Magic” track listing: 1. Victory Or Die
2. Thunder & Lightning
3. Fire Storm Hotel
4. Shoot Out All Of Your Lights
5. The Devil
6. Electricity
7. Evil Eye
8. Teach Them How To Bleed
9. Till The End
10. Tell Me Who To Kill
11. Choking On Your Screams
12. When The Sky Comes Looking For You
13. Sympathy For The Devil
14. Heroes
15. Bullet In Your Brain
16. Greedy Bastards
Live at Mt Fuji Rock Festival 2015 – Sayonara Folks! track listing: 1. We Are Motörhead
2. Damage Case
3. Stay Clean
4. Metropolis
5. Over The Top
6. String Theory
7. The Chase Is Better Than The Catch
8. Rock It
9. Lost Woman Blues
10. Doctor Rock
11. Just ‘Cos You Got The Power
12. Going To Brazil
13. Ace Of Spades
14. Overkill
The post MIKKEY DEE Talks Musical Career And Recent MOTÖRHEAD Reissues: ‘There’s No Money In These Releases, This is Just to Prolong Lemmy’s Dream and The Legend that Motörhead Was, and Give Our Fans Something Extra’ appeared first on Sonic Perspectives.
Last in Line is back with their album “Jericho” which will be released on March 31st via earMUSIC. This new album takes fans on part three of the band’s eight-year journey.
“Jericho” is a masterful continuation of their straight-up rock approach from their debut album “Heavy Crown” to “II.” This new release takes on a darker, heavier, and more ominous vibe than the previous releases. It has all the ingredients one can hope for in a rock record, memorable guitar riffs, pounding drums, melodic bass playing, and thunderous vocals. Combine that with Dio‘s musical legacy and integrity, and how can it not be a success? The band consists of Vivian Campbell [guitar], Vinny Appice [drums], Andrew Freeman [vocals], and Phil Soussan [bass].
After a long hiatus from Dio, a casual and fun reunion jam in a Los Angeles rehearsal room in 2011 turned into a fully-fledged recording project that has taken on a life of its own. The band, Last In Line, takes its name from Dio‘s second album, released in 1984. Chemistry intact, the band called in Andrew Freeman to handle the vocals and, in 2016, released their first album, “Heavy Crown”. After original Dio bassist Jimmy Bain’s untimely passing, the band brought in renowned Phil Soussan to fill in, who now has become a solid member.
Having gelled as a band while touring to support their debut album, the songwriting came fast and furious. In 2019 they released “II”, which showed a significant progression in sound while immediately being recognizable as Last In Line.
“Jericho” now follows that same formula. The result is another hard rock album driven by Vivian‘s unforgettable and powerful riffs from the opener of “Not Today Satan” to the closer on “House Party at the End of the World.” The album title is appropriate to the band as it represents the success of breaking through the walls of seemingly insurmountable challenges and obstacles while thundering forward to claim the exciting world ahead!
Pre-order the album HERE.
“Jericho” Album Artwork
Vinny Appice is most notably known for playing drums in Black Sabbath and, more recently, with Heaven & Hell. But he was also in Dio and played on a majority of albums, including their first three. Together with Ronnie James Dio, Vivian Campbell, and Jimmy Bain, they co-wrote some of rock’s most definitive metal albums “Holy Diver”, “Last In Line”, and “Sacred Heart”. Albums that not only created Dio‘s sound but help forged a genre of music known as Heavy Metal!
Correspondent Robert Cavuoto had an in-depth conversation with Vinny on how his and Vivian‘s playing contributed to the band’s rich musical legacy, how he never thought “Holy Diver” would become a classic record 40 years later, the impact the pandemic had on the creation of “Jericho”, a Spring tour, and what songs off the new album he is looking to play live. Watch or listen to their chat below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post VINNY APPICE Discuss LAST IN LINE Upcoming “Jericho” Album: ‘This Record Was Created In The Same Spirit As “Holy Diver”; We Went Into A Room And Jammed Out Riffs’ appeared first on Sonic Perspectives.
Multi-platinum rocker Theory Of A Deadman will release their eighth studio album, “Dinosaur”, on March 17th via Roadrunner Records.
The track “Dinosaur” is currently at #12 on the Top 10 at U.S. Active Rock Radio and quickly approaching the Top 10. This album marks a return to form stylistically while growing and learning to solidify their place at the top of modern hard rock. Ultimately “Dinosaur” stands out as the band’s best work to date because it’s about a shared experience with the audience. Theory Of A Deadman featuring Tyler Connolly [lead vocals, guitar], Dave Brenner [guitar, backing vocals], Dean Back [bass], and Joey Dandeneau [drums, backing vocals] have found their groove. This hard-hitting album’s ten songs riffs lumber ahead with the swaggering force of a T-Rex and the grace of a Brontosaurus.
While the singles “Dinosaur” and “Ambulance” hit you like a freight train, their newest single, “Two Of Us (Stuck),” slows things down to showcase the band’s signature wit on a breezy piano-laden breakup bop that takes a hard left from the refrain of the Grover Washington Jr. and Bill Withers classic “Just The Two Of Us.” Ultimately, Theory Of A Deadman is giving rock n’ roll precisely what it needs to deliver a barrage of rock anthems.
“Dinosaur” is available to pre-order now at THIS LOCATION.
Theory Of A Deadman will perform tracks off “Dinosaur” for audiences worldwide throughout the year. Following a run of dates this winter in New Zealand and Australia, the band teams up with Skillet for the co-headlining Rock Resurrection Tour. The 25-date trek, also featuring support from Saint Asonia, crosses the U.S. from February 17th through March 26th, where it wraps at The Wiltern in Los Angeles. See below for all upcoming tour dates, and visit HERE for more info and to purchase.
Correspondent Robert Cavuoto had an in-depth conversation with bassist Dean Back about the making of “Dinosaur”, the importance of injecting humor into their songs, his insights into the three key aspects that lead to the band’s success, and what new songs fans can expect to hear on the Rock Resurrection Tour. Listen to conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
“Dinosaur’ Album Artwork
“‘Dinosaur’ takes us back to our roots with this riff-driven rocker,” shares Connolly. “To me, it feels like it could fit on any of our albums, but I will say if you like the old THEORY OF A DEADMAN, you’ll love the new THEORY OF A DEADMAN.”
“Rock is where we made our bed for all these years,” adds guitarist Dave Brenner. “It’s been a while since we had an up-tempo in-your-face track like this — and it felt good.”
With sky-high hooks, riffs as thick as a 2×4, rumbling grooves, and a razor-sharp sense of humor, THEORY OF A DEADMAN — Tyler Connolly (lead vocals, guitar),Dave Brenner (guitar, backing vocals),Dean Back (bass),and Joey Dandeneau (drums, backing vocals) — have quietly persisted as an unapologetic, unbreakable, and undeniable hard rock force with major multi-platinum hits and countless sold-out shows in each of the past two decades. Jamming together in basements throughout high school, the band burst out of their small hometown of North Delta, British Columbia with the self-titled “Theory Of A Deadman” during 2002.
In addition to the double-platinum breakthrough album “Scars & Souvenirs” (2008) and gold-certified “The Truth Is…” (2011),THEORY OF A DEADMAN have notched a procession of hits, including the gold-certified “All Or Nothing”, “Bitch Came Back” and “Lowlife”, platinum-certified “Angel”, “Hate My Life” and “Not Meant To Be”, double-platinum “Bad Girlfriend” and triple-platinum “RX (Medicate)”. As the biggest smash of their career thus far, the latter hit, off their 2017 album “Wake Up Call”, marked their third No. 1 on the Billboard Hot Mainstream Rock Tracks chart and garnered a nomination for “Rock Song Of The Year” at the iHeartRadio Music Awards.
Their impressive catalogue has also logged two Top 10 debuts on the Billboard 200 and amassed more than one billion collective streams on Spotify alone and over 675 million views on their official YouTube. In 2020, the award-winning band’s seventh studio album, “Say Nothing”, landed at No. 2 on the Billboard Alternative Albums chart and No. 3 on the Rock Albums chart. Plus, the album, featuring the chart-topping and powerful single “History Of Violence”, earned praise from American Songwriter, Billboard, Alternative Press and Classic Rock magazine which awarded it four out of five stars.
The post DEAN BACK of THEORY OF A DEADMAN Discusses Upcoming “Dinosaur “Album: “It Will Take You on A Roller Coaster Ride Between The Rockers and Ballads” appeared first on Sonic Perspectives.
The Crystal Casino Band, who have amassed over 10 million streams on Spotify, released their latest album “Maryland House” last January 27th. Formed in 2015 as a group of friends at George Washington University, The Crystal Casino Band began their sonic journey heavily influenced by The Strokes and The Black Keys. Over the course of their college years and a few lineup changes, the band’s sound evolved and grew.
With a songwriting eye turned inward and heightened social awareness, the quartet of Pete Stevens [guitar/vocals], Joey Mamlin [drums], Jarrod Hendricks [guitar], and Jordan Mullaney [bass]deliver their most complex album to date. It is a winding journey with unexpected turns that showcases their love for the DMV [DC/Maryland/Virginia] area and pays homage to their lives as young adults throughout a 13-song indie rock-leaning experience. The album opener, “Curfew,” is from the perspective of someone in the DC area detailing the events at The Capitol on January 6, 2021. “Twenty-something Socialist” has Pete Stevens singing about the jaded young progressives of America trying to make it in the world while billionaires use their wealth for expensive vanity projects and “Jamie” discusses the actions of a flaky friend who never follows through on what they say they’re going to do. You can order the new album HERE or stream it HERE.
The official music video for “Curfew,” the opening track off “Maryland House”, directed by Cagla Akcadag (Jack Kays) was released some days ago, and can be watched below.
“We hope that this video shows the beauty of Washington, DC,” shares the band. “Since this song is about the experience of living in DC during the insurrection in 2021, we wanted the video to showcase the city’s beauty which adds tension and contrast to the lyrics describing the events of that infamous day. We can’t thank Cagla Akcadag enough for her incredible work on this!”
Correspondent, Robert Cavuoto, spoke with Pete and Joey about the band’s upcoming release, their passion for writing songs about the DMV area, the biggest challenge, both musically and professionally, and the importance of their friendship. Listen or watch to conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post PETE STEVENS and JOEY MAMLIN of THE CRYSTAL CASINO BAND: “We Wanted Our New Album ‘Maryland House’ To Be a Step Up from Anything We Have Done” appeared first on Sonic Perspectives.
The achievements of rock n’ roll heavyweights The Trews are many and mighty, highlighted by multiple radio hits drawn from seven critically acclaimed studio albums plus several EPs, a pair of live records, and a retrospective. The band’s 2021 release, “Wanderer,” emerged with their fiercest and most accomplished songs to date, taking the band further into the realm of rock greatness.
The Trews — Colin MacDonald [singer/guitarist], John-Angus MacDonald [guitarist], Jack Syperek [bassist], Chris Gormley, and Jeff Heisholt [keyboards]are currently on a US tour that started January 24th in Boston, MA, and wrapped it up last February 5th in Chicago, IL.
Click HERE to keep yourself up-to-date with what’s going on in their musical universe.
Correspondent, Robert Cavuoto, spoke with guitarist John-Angus MacDonald almost at the end of the tour, about the band’s latest release, how they captured their signature sound, the challenges of hitting the road post-pandemic, and the legacy the band wants to leave behind. Listen to conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post JOHN-ANGUS MACDONALD of THE TREWS: “I Want to Write Songs That Mean Something to People” appeared first on Sonic Perspectives.
Norwegian rock n’ rollers Wig Wam just released their new album, “Out of the Dark,” this past Friday (February 10, 2023) via Frontiers Music Srl.
Coming on the heels of renewed and enthusiastic interest in the band thanks to their classic song “Do Ya Wanna Taste It” being the theme for HBO‘s Peacemaker series, “Out of the Dark” sees an extremely talented band feeling reinvigorated and inspired. “Out of the Dark” is a testament to Åge Sten Nilsen [vocals], Trond Holter [guitarist], Bernt Jansen [bassist], and Øystein Andersen [drums]rebellious spirits to create and grow constantly.
The band returns with a diverse, attitude-drenched collection of songs that their faithful followers have come to expect while pushing their signature sound forward. Eleven maximum rock songs like “Uppercut Shazam,” “Forevermore,” and “Out of the Dark” showcase Trond‘s fiery guitar playing, Åge versatile vocal strength, Bernt‘s incendiary roaring bass, and Øystein monstrous percussive and stylistic playing.
This new music fits perfectly alongside their most popular songs, which have become the cornerstone of their live performances. To order “Out of the Dark” or purchase tickets to their US tour, please visit HERE.
Correspondent Robert Cavuoto had an in-depth conversation with guitarist Trond Holter about his blazing fretwork and melodic sensibilities, the guitars and techniques he used on “Out of the Dark”, the friendly competition within the band to write songs, and what fans can expect on their upcoming US tour. Watch or listen to their all-encompassing conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
In 2005, the year after the release of their debut album (first titled “667.. The Neighbour of the Beast” and later changed to “Hard To Be A Rock N’ Roller”), the band had their first international breakthrough when they represented Norway in the Eurovision Song Contest, placing ninth with the song “In My Dreams”. The band would go on to release three more studio albums, “Wig Wamania” (2006), “Non Stop Rock ‘N Roll” (2010), and “Wall Street” (2012) before splitting up in 2014.
“Out Of The Dark” Album Artwork
The band would reunite in 2019 and work on a new album, “Never Say Die,” that was released in early 2021. In 2022, the band had a stroke of good fortune when film/television director James Gunn selected their 2010 song “Do Ya Wanna Taste It” (from the album “Non Stop Rock ‘N Roll”) as the opening theme song for the HBO Max show Peacemaker starring John Cena. The show, based on a DC Comics character, showcased the band to a whole new audience who had been previously unaware of them and has seen the band taking on renewed interest and booking more and more live dates around the world.
With new album “Out Of The Dark” in tow, Wig Wam is ready to show even more rock ‘n roll fans around the globe their entertaining take on hard rock!
“Out Of The Dark” Track List:1. Out Of The Dark
2. High And Dry
3. Forevermore
4. Bad Luck Chuck
5. Uppercut Shazam
6. Ghosting You
7. The Purpose
8. The American Dream
9. 79
10. God By Your Side
11. Sailor And The Desert Sun
The post TROND HOLTER of WIG WAM Reflects About “Out of the Dark” Album: “We All Inspire Each Other to Write Great Songs in a Friendly and Competitive Way” appeared first on Sonic Perspectives.
Perhaps the most fitting visual for the death metal sub-genre is the decrepit landscape of a massive cemetery, especially one located within a marshy landscape. However, even the most traditionally-minded adherents to the style have not been beyond delving into all things moribund from an abstract angle. As a band that traces their roots back to the primordial days of extreme metal circa the mid to late 1980s, and also one that briefly frolicked in the thrash scene before becoming one of the trailblazers of the pioneering Florida sound, Obituary is no stranger to stereotypical imagery of post-mortem visuals and sticking to the basics. In fact, when compared to their contemporaries they might be seen as the AC/DC of death metal given their straightforward and highly consistent presentation that, with the release of their latest studio album “Dying Of Everything”, now spans 11 LPs over a period of more than 30 years. But a closer look reveals a band that has been anything but oblivious to a changing world and has engaged in a very gradual yet purposeful stylistic evolution.
In contrast to the progressive musical strides of Chuck Schuldiner and the esoteric, occult-based lyrical ventures of Trey Azagthoth and the guys in Morbid Angel, Obituary’s craft could be best described as concrete and to the point. Naturally as a band that has previously employed the services of virtuoso guitar gods such as James Murphy and Ralph Santolla, they have not been wholly averse to spicing up their generally mid-paced grooves and up tempo, concise, thrash-infused anthems with a level of technical wizardry. Likewise, vocalist John Tardy brings a unique blend of harsh vocal techniques to the table that bear a closer resemblance to the intelligible shouts and gravely timbre of Lemmy Kilmister and Jeff Becerra than what typifies the modern brutal approach, but is quite ferocious by today’s standards. Yet when one notes the band’s generally symmetrical and simplistic approach to song structure and the brevity of their compositions, a bridge from the early days of the style to the mid-90s death ‘n’ roll craze spearheaded by Entombed and Six Feet Under becomes immediately apparent.
“Dying Of Everything” Album Artwork
But when all elements are properly considered, the Obituary sound can’t be described any other way that as death metal, pure and simple. One could even go so far as to state that their early ventures “Slowly We Rot” and “Cause Of Death” share an equal footing with “Scream Bloody Gore”, “Seven Churches,” “Altars Of Madness” or any other late 80s/early 90s staple in codifying the style. Likewise, their subsequent commercial breakthrough in 1992’s “The End Complete” played a substantial role in bringing death metal to its place of popular prominence, perhaps even paving the way for Cannibal Corpse’s auspicious appearance in the 1994 classic comedy flick Ace Ventura: Pet Detective. And one would likewise be remiss to dismiss their later works, including their triumphant mid-2000s return LP Frozen In Time, which birthed their obligatory live overture “Redneck Stomp”, to speak nothing for the brilliant collaboration with the aforementioned shred icon and Deicide guitarist Ralph Santolla on 2007’s “Xecutioner’s Return” and 2009’s “Darkest Day.”
The present has seen this prime mover of the Florida scene continuing to break new ground in search of more cadavers, with the addition of lead guitarist Kenny Andrews and former Death bassist Terry Butler rounding out the latest lineup that has since inked the band’s 2010s material in “Inked In Blood” and their 2017 eponymous album respectively. Sonic Perspectives associate Jonathan Smith was able to catch up with the man who has provided the foundation of this colossal death metal institution, namely drummer and co-founder Donald Tardy, to discuss the band’s origin, their progression over the years, and what lays ahead on the live circuit as they wind down their European tour with Trivium, Heaven Shall Burn and Malevolence. He would prove a veritable wellspring of background information about how Obituary grew from a group of teenagers playing at parties in Florida to one of the top-selling acts in the sub-genre, as well as provide some insights into how their latest LP “Dying Of Everything” came into being, and where it stands within their massive body of work. For more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new interviews and contents we publish on a daily basis.
OBITUARY will embark on a North American tour in the spring. The trek, which will feature support from IMMOLATION, BLOOD INCANTATION and INGROWN, will kick off on April 28 and end in late May. Tickets go on sale on Friday, January 27 at 10:00 a.m. local time. Tickets will be available HERE.
OBITUARY Tour Dates (with IMMOLATION, BLOOD INCANTATION and INGROWN):Apr 28 – Charlotte, NC @ The Underground
Apr 29 – Virginia Beach, VA @ Elevation 27
May 01 – Baltimore, MD @ Baltimore Soundstage
May 02 – Philadelphia, PA @ Brooklyn Bowl
May 04 – New York, NY @ Irving Plaza
May 05 – Boston, MA @ The Middle East
May 06 – Montreal, QC @ Theatre Fairmount
May 07 – Toronto, ON @ The Phoenix Concert Theatre
May 09 – Chicago, IL @ Metro
May 10 – Minneapolis, MN @ Fine Line
May 11 – Omaha, NE @ The Waiting Room
May 12 – Englewood, CO @ Gothic Theatre
May 13 – Salt Lake City, UT @ The Complex
May 15 – Seattle, WA @ El Corazon
May 16 – Portland, OR @ Hawthorne Theatre
May 18 – Berkley, CA @ UC Theatre
May 19 – Los Angeles, CA @ Fonda Theatre
May 20 – Mesa, AZ @ Nile Theater
May 22 – Austin, TX @ Mohawk
May 23 – Dallas, TX @ Granada Theatre
May 24 – Houston, TX @ White Oak Music Hall
May 26 – St. Louis, MO @ Red Flag
May 28 – Louisville, KY @ Headliner Music Hall
- No IMMOLATION
OBITUARY released its latest studio album, “Dying Of Everything”, on January 13 via Relapse Records. Order it HERE.
The post DONALD TARDY of OBITUARY Discusses Their Latest Studio Album “Dying Of Everything”, The World Circumstances That Helped To Birth It , and The History Of Their More Than 3 Decades Long Career: “The Title Just Seemed Like It Fit The State The World Is In Right Now” appeared first on Sonic Perspectives.
If you’re talking about modern progressive rock and don’t bring up Haken, you’re doing it wrong. Since the south English sextet started jamming together in 2004, they’ve been one of their genre’s most loyal yet, simultaneously, adventurous forces. Every album they’ve released is distinct from all the rest, but they’re all tied together by their incalculable time signatures, fearless songwriting and majestic vocals – and, of course, their critical acclaim.
A lot of people had more time once the pandemic hit, but few made more use of that time better than Ross Jennings, vocalist of Haken and Novena. In the midst of becoming a father for the first and second time, Ross managed to work on output for both of his main bands, put out a solo album, guest on a Star One album, and start a new project with Nick D’Virgilio and Neal Morse.
As things opened up, Haken embarked on a North American tour with Symphony X returning to the live arena. Now, it’s full steam ahead once again for Haken. Their seventh album, “Fauna”, is set to release March 3, 2023 via Inside Out Music. At time of release, the band will be on tour with Between the Buried and Me across Europe, and to follow that up the band will headline North America with Arch Echo in the support slot.
“Fauna” Album Artwork
In Nick Andreas chat with Ross we talk about what he’s been up to, his input into Haken, some of the band’s songwriting trends, and his thoughts towards the future. Watch or listen to their conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
Pre-order “Fauna” HERE.
The post HAKEN’s ROSS JENNINGS Talks Upcoming Album “Fauna”, Upcoming Tours and More: “HAKEN’s Music is Very Complex to Create, and That’s Why is so Rewarding to See People Loving It” appeared first on Sonic Perspectives.
Some 53 years ago, a group of British lads got together to bring hard rock/metal music to the masses. They called themselves Uriah Heep after a fairly slimy character in the novel David Copperfield. There have been a lot of changes over the years – primarily in personnel – but Heep is still going strong with their new album “Chaos and Colour” released just some days ago. And the one constant, if you will, has been their lead guitarist. Mick Box has been around since the beginning, during famine and feast.
“Chaos & Colour” is an album which bristles with explosive classic rock guitars, supreme harmonies, and HEEP’s famously generous keyboard foundation. It is, unsurprisingly, an album that found its extra thrust during the COVID-19 pandemic, which was as bizarre for Uriah Heep as it was for humanity in general. There were still the looming spectre of protocols and rules to follow in the middle of 2021, as the world tried to find its feet. URIAH HEEP slowly found their way into Chapel Studios in London during the summer of 2021 as restrictions were tentatively lifted, working once again with Jay Ruston (Anthrax, Corey Taylor, Black Star Riders).
Led by Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the album eleven tracks. “One Nation, One Sun” is a journey of soaring balladic contemplation, “Fly Like An Eagle”takes the listener on a journey of meditation, whilst “Closer To Your Dreams” is a battle cry for all rockers to get out there and do it, with Shaw imploring that “So many have tried but slipped away/Now it’s time for you to have your say.” During the entire album, Bernie Shaw’s timeless vocals sit expertly beside the band’s phenomenal artistry (Mick Box – guitar, Phil Lanzon – keyboard, Russell Gilbrook – drums, Dave Rimmer – bass), rounding out exceptional performances throughout.
“The album title reflects that we were in chaotic times with being locked down, tours being cancelled, businesses folding, and all the chaos that was thrown into the world,” explains Box, “and as far as I could see it, the only colour people had was through music. It helped so many people get through those difficult years, using that strength and power which music has, to make those bad times not quite so bad.”
Mark Boardman had the opportunity recently to talk with the legendary Mick Box, to unveil tons of information about the band’s creative process, plus the inception and arrival of “Chaos and Colour”. Watch or listen to their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
“Chaos & Colour” is available to order from in black and colored vinyl configurations, as a standard CD Digipak, a Deluxe CD packaged in a hardcover book with URIAH HEEP’s “Chaos & Colour” signature patch and in digital formats.
The post URIAH HEEP’s Guitarist MICK BOX Talks New Album “Chaos and Colour” and Band’s Creative Approach: “A Lot Of Bands Today Are All Into Sharing Files, Cut And Paste, And It’s Sterile. We Don’t Do That, Which Is Why We’re Still Around” appeared first on Sonic Perspectives.
AVATAR is here to save heavy metal with their latest metal tour-de-force record, “Dance Devil Dance”, due out on February 17th via Black Waltz Records.
AVATAR are known for their high-intensity heavy metal, juxtaposed with devilish narratives designed to raise the hair on your arms and scare the shit out of you. “Dance Devil Dance” lives up to that reputation while blending well-crafted guitar, powerful vocal, and sheer brute force metal. This new release is a powerfully cohesive and diverse album that reflects the talented musicianship of Johannes Eckerström [vocals], Jonas Jarlsby and Tim Öhrström [guitars], Henrik Sandelin [bass], and John Alfredsson [drums].
The band exhumed 11 songs deep from the Swedish woods for this new release. Together they added some finishing touches to create a broader, richer, and sonically powerful sounding album than ever before. Songs that provide a pummeling mix of high energy and the macabre. AVATAR has the unique talent of taking pure angst and turning it into an irreverent celebration of all things dark and malevolent. Songs like “The Dirt I’m Buried In” and the title track, “Dance Devil Dance,” do precisely that. Others like “On the Beach” and “Gotta Wanna Riot” jump out of the speakers with their big grooves, memorable riffs, and intriguing lyrical messages. If you are looking for a love ballad, well… look somewhere else! “Dance Devil Dance” is a fresh, vibrant, and addictive album destined to be their best! Pre-orders can be found HERE and tickets for their shows can be found AT THIS LOCATION.
Contributor Robert Cavuoto spoke to Johannes Eckerström about the importance of musical diversity since early in the band’s career, their desire to create the most sonically powerful album, and why the music must work with your eyes closed before adding theatrics. Johannes shares that wearing make-up is a liberating experience, not a persona, and provides a glimpse of what US fans can expect from the band’s set-list.
Watch or listen to their all-encompassing conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
“Our new album is designed to make you move and to move you,” says Eckerström. “We destroyed all doubt with ‘Valley of Disease.’ We blew the competition off the mountain with ‘Dance Devil Dance.’ Now the world is ours, and yours with us. The stage is set all that’s left to do is give in and join the circus. This is ‘The Dirt I’m Buried In.’ You are welcome.”
The album will be released in multiple vinyl configurations. The configurations can be seen below.
Clouds Dipped in Chrome Super Deluxe Vinyl: Includes: Metal O-Card with embossed Avatar emblem. 2 pocket silver board gatefold vinyl with platinum Dance Devil Dance vinyl. 24 page photo book. Autographed 5×7 Postcard.
Clouds Dipped in Chrome Super Deluxe Vinyl
Hazmat Suit Deluxe Vinyl: Includes Embossed Gatefold with 3 color A SIDE / B SIDE Dance Devil Dance vinyl, Five 11×11 Photo Prints of each band member w/lyrics, Autographed 5×7 Postcard.
Hazmat Suit Deluxe Vinyl
Dance Devil Dance Standard Vinyl: Includes: Embossed gatefold jacket with red opaque Dance Devil Dance vinyl, Five 11×11 Photo Prints of each band member.
Dance Devil Dance Standard Vinyl
“Dance Devil Dance” Tracklisting:1. Dance Devil Dance 2. Chimp Mosh Pit 3. Valley Of Disease 4. On The Beach 5. Do You Feel In Control 6. Gotta Wanna Riot 7. The Dirt I’m Buried In 8. Clouds Dipped In Chrome 9. Hazmat Suit 10. Train 11. Violence No Matter What (Duet w/ Lzzy Hale)
“Dance Devil Dance” was recorded in the Swedish wilderness, far away from all the perceived glamor of the big city and modern studios. Jay Ruston (ANTHRAX, MR. BUNGLE, CROBOT, STONE SOUR, AMON AMARTH, URIAH HEEP) returned as producer. He first worked with AVATAR when he mixed “Hail The Apocalypse”, a role he reprised on “Feathers & Flesh” before taking the wheel as producer on “Avatar Country” and “Hunter Gatherer”.
The post AVATAR’s JOHANNES ECKERSTRÖM Talks New Album “Dance Devil Dance”: ‘We Wanted a Sonically Angrier Rock n’ Roll Album with Dirt Under the Fingernails” appeared first on Sonic Perspectives.
Contrary to a controversial statement from Gene Simmons a few years ago, rock and roll is alive and well. Older acts like Deep Purple, Scorpions, Judas Priest and Gene‘s own Kiss are still alive and well, and newer bands such as Greta Van Fleet, Måneskin, Thundermother and Dirty Honey keep rejuvenating the scene. Granted, the days of filling out arenas might be long gone, but one way or another, it seems that this style will always find a way to survive.
Another fine example of a new band driving rock and roll to a new era is Heroes and Monsters, who just released their debut album on January 20th. The group is formed by three rock n’ roll lifers and friends, bassist/vocalist Todd Kerns, guitarist Stef Burns (Sheila E., Huey Lewis & The News, Y&T) and drummer Will Hunt (Evanescence, Black Label Society, Staind). Todd in particular, bridges the gap between old and new, since he has been the bassist of Slash featuring Myles Kennedy and the Conspirators for more than a decade.
“Heroes and Monsters” Album Artwork
Sonically, Heroes and Monsters take cues from the band members’ collective past: the rawness of Guns N Roses’ “Appetite for Destruction” can be heard on tracks such as “Locked and Loaded”, while their punk roots are evident on “Raw Power”. “Let’s Ride It” is pop rock bliss, and wouldn’t sound out of place on a Cheap Trick record. On the other hand, “Blame” explores several tempo and mood changes.
Heroes and Monsters and his role in Slash’s band are not the only things keeping Todd “Dammit” Kerns busy. He is also a mainstay on the Kiss Kruise and on the “Raiding the Rock Vault” show in Las Vegas. He also keeps himself busy with the Canadian act Toque, who is constantly touring as well. It’s only natural that he has a lot to talk about, and that’s what he did in a sparkling conversation with Sonic Perspectives collaborator Rodrigo Altaf. Watch or listen to their animated chat below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post TODD “DAMMIT” KERNS Reflects On The Formation Of HEROES AND MONSTERS Band: “The Time I Enjoy With The People I’m Playing With Is More Important Than Anything Else” appeared first on Sonic Perspectives.
Rob Halford, the Metal God and vocalist for Judas Priest is back with another fascinating and insightful book entitled “Biblical: Rob Halford’s Heavy Metal Scriptures”. It comes hot on the heels of his 2020 tell-all book autobiography, “Confess!” In which, Rob shares his life story from beginning to end in a linear approach, from growing up in the Walsall, UK, hiding his sexuality, forming Judas Priest, writing albums, touring the world, leaving Priest in 1992, publicly coming out as gay, and rejoining the band in 2003.
“Biblical: Rob Halford’s Heavy Metal Scriptures”
In this latest book, Rob delivers the scriptures of his life’s work with a clever and unique twist. It’s an open narrative of the up-and-downs of Judas Priest‘s 50-year career set to Bible-Esque-themed chapters. The Book of Pilgrimage is a hard look into the challenges of touring and the preparation that goes into it; The Book of Psalms and Testaments touches upon his method of lyric writing, creating album titles, and artwork; The Book Disciples is about his loyal fans and the best way they should ask for selfies and autographs! He shares these “gospel truths” with humor and open candor without leaving out any risqué details.
“Biblical: Rob Halford’s Heavy Metal Scriptures” ( order it HERE) is a manifesto in which Rob shares his opinions, memories, and anecdotes regarding every element of the rock n’ roll world. It is told in Rob‘s relaxed tone, as if he is speaking directly with you one-on-one while mixing serious and in-depth topics with whimsical reflections on life’s lessons.
Photo by Robert Cavuoto
Contributor Robert Cavuoto, had the honor of interviewing Rob Halford for an insightful look at his success, pursuing his dreams of stardom, becoming a spiritual person, an update on the new Judas Priest album, and the importance of being inducted into the Rock n’ Roll Hall of Fame meant to him standing shoulder-to-shoulder with all the band members who deserved to be there.
Watch or listen to their all-encompassing conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post ROB HALFORD Reflects on His Latest Book “Biblical: Rob Halford’s Heavy Metal Scriptures” and His Life: ‘I Found Peace in Sobriety and Became a More Fearless Person’ appeared first on Sonic Perspectives.
With Covid-19 putting a stop to touring and postponing much of the activity in the music business, now’s the time to catch up. With that in mind, The Winery Dogs are back with their third album, simply titled “III”. While the first, self-titled release set the foundation for the band, and the second one, “Hot Streak”, gave way to experimentation, “III” seems like a combination of these two approaches.
Comprised of Mike Portnoy on drums, Billy Sheehan on bass and Richie Kotzen on guitars and vocals, The Winery Dogs concocted an incredible collection of songs yet again on “III”. Soulful moments like “Mad World” and “Lorelei” sit next to high octane songs like “Gaslight” and the first single “Xanadu”. “The Vengeance” and “Rise” combine extremely technical parts with catchy melodies and hooks that hark back to the origins of American rock, using bands like Grand Funk Railroad as a template and modernizing that approach. The album covers a lot of sonic ground, and drives the listeners through an incredible journey, from the first note to the last.
Fans wanting to pre-order the album and enter to win a custom Fender Richie Kotzen Telecaster guitar can go HERE. A vinyl edition of “III” will also be forthcoming in just a few months.
“III” Album Artwork
One of the key elements to the band’s sound is the prominent bass in the mix. Owner of a distinctive style, one could argue that Billy Sheehan invented “lead bass”, filling up the sonic landscape with chording, two-handed tapping and opening the doors for bass solos in rock. Sheehan kicked off his professional career with Talas, and went on to play with David Lee Roth’s band after he left Van Halen. Having reached stardom with Mr. Big, nowadays he’s a member of prog-metal act Son of Apollo, as well as The Winery Dogs.
“The response to our first two singles Xanadu and Mad World has been amazing” says Billy in a conversation with Sonic Perspectives collaborator Rodrigo Altaf. “We are very grateful to our fans and to everyone who has given us their time”
In this in-depth interview, Rodrigo and Billy discuss the inception of the album, the band extensive touring plans, the logic behind the sequencing of the songs in their live set-list, and Sheehan even goes to mention “Eat’em and Smile”, “Lean Into It” and the debut from The Winery Dogs as the three most important records in his life and career. Watch or listen to their conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post Legendary Bassist BILLY SHEEHAN Talks In-Depth About THE WINERY DOGS Upcoming Album “III”, Names the 3 Most Important Records in His Life and Career appeared first on Sonic Perspectives.
Polish artist Mariusz Duda is an unstoppable force of musical creation. Although he may best be known for heading the progressive rock and metal outfit Riverside, his career includes a progressive solo project titled Lunatic Soul alongside self-titled electronica work. His perseverance and continued dedication to honing his craft is evident in Riverside’s upcoming album, “ID.Entity,” due out on January 20, 2023. A new side of Riverside and the next chapter in the band’s story, this album not only features new permanent member Maciej Meller, but it also marks the band’s eighth studio album in twenty years.
Brighter, more hopeful, but still undeniably Riverside, “ID.Entity” is some of the most cohesive and mature work to come from the band yet. The blunt edge of “Big Tech Brother” is drenched in cynicism and critique of our modern digital age, yet the closing notes of “Self-Aware” are beautifully luminescent. There are touches of stylistic inspiration from earlier albums like “Shrine of New Generation Slaves,” but the progressive-rock quartet has stepped up to embrace their growth in skill and ambition with novel grace. Duda has described the increased cohesion between the band in writing “ID.Entity,” including many hours spent on tour and in the rehearsal room required to make this album a reality. That dedication shines through in the bright notes that dominate “ID.Entity” and make it an experience that rivals the energy that Riverside has long brought to the live stage.
Duda spoke with Sonic Perspectives correspondent Samantha Buckman about the writing process behind “ID.Entity,” the themes that drive the album, Duda’s other work, and much more. Listen to their chat on the links below and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new interviews and contents we publish on a daily basis.
“ID.Entity” is out on January 27th via Iside Out Music. Pre-order it HERE.
“ID.Entity” kicks off the third decade in RIVERSIDE’s career in a remarkable way and will be available in the following formats:
- Ltd. Deluxe 2CD+Blu-ray Artbook (Disc 1: Album, Disc 2: All 4 bonus tracks, Blu-ray: All main 9 album tracks in Dolby Atmos, 5.1 and 24bit HighRes Audio mix versions)
- Ltd. 2CD Mediabook (Disc 1: Album, Disc 2: All 4 bonus tracks)
- CD Jewelcase
- Deluxe Digital Album (Including all 4 bonus tracks)
- Digital album
The album’s vinyl version comes as Gatefold 2LP (With the bonus tracks “Age of Anger” and “Together Again” on Side D) in the following variants:
- Black vinyl: All outlets
- Orange vinyl: All outlets
- White vinyl: 500x copies via JPC & Burning Shed
- Yellow vinyl: 500x copies via EMP & Just For Kicks
- Sky Blue vinyl: 600x copies via Laser’s Edge & CM Distro/Webshop Europe
“ID.Entity” Album Artwork
“ID.Entity” Track-listing:CD 1 – Album:
- Friend or Foe?
- Landmine Blast
- Big Tech Brother
- Post-Truth
- The Place Where I Belong
- I’m Done With You
- Self-Aware
CD 2 – Bonus Material
- Age of Anger
- Together Again
- Friend or Foe? (Single Edit)
- Self-Aware (Single Edit)
RIVERSIDE have recently also announced their return to North American stages in February/March 2023 in promotion of “ID.Entity”. Check out the band’s upcoming confirmed live-dates below.
RIVERSIDE also launched a “Riverside Heavy” playlist featuring “I’m Done With You” as well as many other heavier tracks from the band’s comprehensive catalogue, which you can check out HERE.
The post RIVERSIDE’s MARIUSZ DUDA Speaks About the Band’s Upcoming Album: “We Shine the Most When We Play Live, So I Thought . . . We Should Record a Studio Album That Reflects This Live Energy” appeared first on Sonic Perspectives.
After a 10-year absence from the public eye, Bang Camaro have reunited following the success of having their song, “Push Push (Lady Lightning),” in the trailer and on an episode of the HBO series Peacemaker.
With their newfound success, band leaders Alejandro Necochea, Bryn Bennett, and Dave Riley started talking about music again. They are five songs deep into the recording process for their third album “Bang Camaro III” which is reminiscent of their earlier work while continuing to push the limit of what the world’s only gang vocal-based metal band had done previously. Their first single, “Too Fast to Fall in Love,” was released to all streaming services on December 1st.
Bang Camaro blasted onto the Boston music scene in 2005, filling the metal and hard rock void of that time by providing music reminiscent of groups like Def Leppard and Skid Row. The band is comprised of the typical drums, bass, and two guitars but also boasts 20 lead vocalists to help bring their signature sound to life without backing tracks. Together they have toured the US and Canada for five straight years, appearing at festivals such as Lollapalooza and Summerfest. The relentless touring, coupled with the releases of their debut self-titled album in 2007 and 2009’s follow-up, “Bang Camaro II,” helped them get appearances on national television shows like Late Night with Conan O’Brien, Jimmy Kimmel Live, and MTV Spring Break.
Correspondent Robert Cavuoto spoke with Bang Camaro guitarists and founding members Alejandro Necochea and Bryn Bennett about the band’s decision to reunite after the success of having a song on the Peacemaker series, the importance of releasing singles prior to the album’s release, and even how Motley Crue influenced their first single. Watch or listen to their all-encompassing conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post ALEJANDRO NECOCHEA and BRYN BENNETT of BANG CAMARO Talk Upcoming Album “Bang Camaro III” and More: “Having the Recognition of Being Involved in the ‘Peacemaker’ Series Meant the World to Us” appeared first on Sonic Perspectives.
Polar have been making an insane amount of noise over the last six months. After the chaos of the pandemic, and the dust has settled, a revitalized and more tightly-knit group has emerged with a brand new upcoming offering, “Everywhere, Everything”.
The UK post-hardcore group have been dropping some intriguing and colorful new singles throughout the second half of this year, and they’ve instantly excited fans and new listeners alike. The title track “Everywhere, Everything” shows them pumping out some melodic energy that taps into that new-era Architects sound, whilst the last single to drop before the album drops, “Hush” is a new sound that dials it down a bit, inviting the listener to become immersed in a new atmosphere the band have created.
Sonic Perspectives writer Josh Muncke sat down with Polar’s vocalist Adam Woodford and went through the messages within the upcoming album. They explored the trials and tribulations producing a record during the lockdowns, as well as what they learned about themselves as people and musicians along the way. Enjoy their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
“Everywhere, Everything” drops on January 13 via Arising Empire. Pre-order it HERE.
The post POLAR Singer ADAM WOODFORD Talks Two-Year Process To Create “Everywhere, Everything” Album: “We Were Not Only Building a Record, We Were Rebuilding Our Relationship As a Band” appeared first on Sonic Perspectives.
For Threshold keyboardist and composer Richard West, the Covid-19 quarantines could have meant that he had too much time on his hands. No live gigs. No in-person compositing sessions with long-time writing partner Karl Groom. Confusion. Disruption. Boredom. Depression.
The same emotions that washed over most of us.
But West is not like others. He took the time to get even busier than normal. He began writing and later recording what became the recently released Threshold album “Dividing Lines,” a record that has been garnering praise from fans and critics alike. He worked with wife Farrah in the pop group League of Lights. He decided to cut a follow-up to Threshold’s stunning and fan-favorite 2017 album “Legends of the Shires” – but doing so outside the bounds of his main band, hence forming a new act called Oblivion Protocol with 3 internationally renowned musicians. He wrote an autobiography titled “Maybe A Writer – My Life in Threshold”, which as the titled implies, focuses on his time with the British progressive metallers stalwarts. And through it all, West helped care for his dying father.
Sonic Perspectives interviewer Mark Boardman had a long and wide-ranging talk with Richard West, touching on all the things that filled his calendar during the pandemic, and investigating the role of faith in his efforts. They delved deep into details of the recording of “Dividing Lines,” the time 30 years ago when he was asked to join Threshold and other stories narrated in his autobiography, his recent gig with League of Lights, what to expect from the Oblivion Protocol debut album, and exclusive details about the remixes of some Threshold albums, which surely you don’t want to miss hearing about!
Remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
Pre-order “Dividing Lines” on a variety of formats, including signed insert + UK exclusive colored vinyl from Recordstore, at this location.
“Dividing Lines” track-listing:1. Haunted
2. Hall of Echoes
3. Let It Burn
4. Silenced
5. The Domino Effect
6. Complex
7. King of Nothing
8. Lost Along the Way
9. Run
10. Defence Condition
The post THRESHOLD’S Keyboardist/Composer RICHARD WEST Talks Recent Album “Dividing Lines”, Upcoming Projects, His Just Released Autobiography Book and More: “We Wrote the Best Songs We Could Come Up With, Without Thinking About Topping Our Previous Record” appeared first on Sonic Perspectives.
Going solo after your successful band breaks up can be a tough proposition. From the erratic solo offerings of Robert Plant to the polemic output of Morrissey or the low-key aspect of Mark Knopfler’s releases after the demise of Dire Straits, there’s no guarantee of success or fame.
Quite often, it means creative freedom, but also a bigger challenge to captivate the audiences of yore. That thought, however, doesn’t seem to worry Ville Valo. Having done multiple side explorations during his tenure with heavy romantics HIM – collaborating with Children of Bodom, The 69 Eyes, Bloodhound Gang and more – he is determined to write the next chapter in his career in capital letters.
HIM played their final show in New Year’s Eve of 2017, and Ville did a one-off album under the moniker of “Ville Vallo & Agents”. 2023 brings a new lease of life, with the release of his first solo album, “Neon Noir” on January 13. Some of the songs have already been revealed, such as “Echolocate Your Love”, “Loveletting” and “The Foreverlost”. The album was fully written and recorded by Ville, and not surprisingly, sounds like a natural progression of HIM – a band for which he wrote mot of the songs anyway. With moments alluding to Black Sabbath and others with a distinctive new wave influence, this ultimately bittersweet collection of songs will bring you equal doses of melancholy and hope.
With a lengthy tour planned for the first few months of the new year, Ville is ready to hit the road, carrying a heavy backpack, filled with songs from HIM but also with the new ones from “Neon Noir”. While doing pre-production for the tour, he had time to sit down with Sonic Perspectives collaborator Rodrigo Altaf to discuss his legacy, the writing and recording of the album, the lack of guitars in rock music these days, and much more.
Find their spirited chat on the links below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post VILLE VALO Reflects on Direction of “Neon Noir” Solo Album: “Its Music Is Somewhere Between BLACK SABBATH and DEPECHE MODE” appeared first on Sonic Perspectives.
When one contemplates the concept of extreme metal, the most common question other than whether black, death or grindcore can claim to be the closest to the fringe would be: Where did this phenomenon first take root? For many the answer would be that all roads point to Venom or Motorhead, but the truth is a bit less particular and reveals a collective movement of bands throughout the 80s that further pushed the envelope towards where things have ended up today. But regardless to the number of bands that can be cited as true innovators, the pivotal role that Switzerland-born projects Hellhammer and Celtic Frost played in the process is beyond a trace of doubt, and in recent years there has been a heightened interest in the accomplishments of the latter that has resulted in the release of a comprehensive box set courtesy of Noise Records in “Danse Macabre,” covering every studio effort between the band’s 1984 inception and their creative peak circa 1987.
Though in similar fashion to the prior outfit Hellhammer the initial result of Celtic Frost’s efforts was a more clearly defined representation of what would become death metal, the band’s primary focus was seeking after broader horizons, which would come to redefine the metal genre even as it was still being codified. The early strides made with 1984 EP “Morbid Tales” and its 1985 successor “Emperor’s Return” would present a new level of extreme aggression that would prove equally as consequential as the ones made at around the same time by Slayer’s “Hell Awaits,” Possessed’s “Seven Churches” and Bathory’s pivotal eponymous debut. Yet it would be via a rapid evolutionary pace that their first studio LP “To Mega Therion” and particularly their sophomore full length “Into The Pandemonium” that Celtic Frost would venture into uncharted waters not only for metal’s newly birthed extreme variant, but for the whole movement as an assortment of outside influences from Classical, Jazz and Industrial music would be spliced into their raw and vital sonic template, blazing trails that would still prove novel as far off as a decade later.
All of the aforementioned accomplishments in the recording studio have been restored in physical form via the recently released box set in question courtesy of Celtic Frost’s original label Noise Records, which was itself inspired by a smaller box set put together a couple years prior in “The Sign Of The Usurper” via the smaller label Darkness Shall Rise Productions, underscoring the organic push behind the revival in interest for the band’s seminal works. Those whom seek to own this auspicious piece of metal’s expansive history will also become privy to a newly restored recording of what is dubbed the Grave Hill Bunker Rehearsals, providing a bird’s eye view into several of the band’s early works while in their infancy, to speak nothing for a plethora of unique photography chronicling the time period where this legendary music went from a collection of ideas into the sound that would come to define much of what constitutes the metal underground, as well as some of what has since achieved varying degrees of mainstream interest.
Though some might see him as a diabolical figure veiled in extreme metal mystique, guitarist and co-founder Thomas Gabriel Fischer (known by his stage name Tom G. Warrior) proved an approachable and good humored man with a ready treasure trove of knowledge. Sonic Perspectives associate Jonathan Smith caught up with him earlier to explore the creative process that brought Celtic Frost from the hills of Switzerland to the waiting world, as well as ponder how the metal scene has changed since its heyday in the 80s and a number of other tangential topics from his current symphonic project Triptykon and his touring band Triumph Of Death, which continues to bring the early work of Hellhammer to the next generation. With tour dates for both projects announced and a scene that is continuing to discover the origins of metal’s darkest corners, it’s safe to say that the story is far from over, and “Danse Macabre” is sure to stand as its most comprehensive anthology. For more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and subscribe to our YouTube channel to be notified about new interviews and contents we publish on a daily basis.
The post TOM G. WARRIOR Remarks On Recently Released CELTIC FROST Box Set “Danse Macabre”, Their Original Mission of Continual Innovation, And The Difficulties In Gaining Acceptance For Their Music In Their Home Country: “Anything In The Arts (In Switzerland) Is Not Considered A Serious Occupation.” appeared first on Sonic Perspectives.
Singer, songwriter, guitarist, and Gibson ambassador Jared James Nichols has announced his self-titled new album will be released on January 13th via Black Hill Records.
As with all his releases, Jared plays guitar and takes on lead vocals to deliver greased lightning guitar playing and blue bravado singing. Jared‘s roots have always been firmly planted in the hard-rocking blues, and this album is a testament to his rebellious spirit to drive these finely crafted songs. Songs like “Easy Come, Easy Go,” “Hard Wired,” and “Bad Root” offer big riffs and even bigger grooves. Link to pre-order Jared‘s self-titled new album at THIS LOCATION
“Jared James Nichols” Album Artwork
To celebrate the release, Jared has scheduled two shows; Tuesday, January 17th, at The Basement East in Nashville and Thursday, January 19th, at The Peppermint Club in Los Angeles. Tickets are on sale now at Jared James Nichols.
Correspondent Robert Cavuoto spoke with Jared about his self-titled release. In the interview, Jared discusses why this is his most ambitious and personal album, which new song best embodies his guitar tone, and what he finds most fascinating about playing the blues. Watch or listen to their all-encompassing conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post JARED JAMES NICHOLS Talks Self-Titled New Album: “I Let the Energy of The Song Go Where It Needs to Go” appeared first on Sonic Perspectives.
Rick Allen, legendary drummer of Rock and Roll Hall of Fame Inductees Def Leppard, will be making a number of special appearances this December at the Wentworth Galleries in Florida, starting with a stop in Hollywood today (Friday, December 9th) followed by Boca Raton tomorrow (December 10th) with a final stop in Fort Lauderdale this Sunday (December 11th). See below for exact locations and times. These exciting events are open to the public.
This new and extraordinary collection houses originals, limited editions, the painted drum series, mixed media originals, plus for the first time – works on Metal which is a new medium for the Artist. Also on view will be fan favorites the “Legends Series,” featuring portraits of Charlie Watts, Eddie Van Halen, Kurt Cobain and Johnny Cash and his renowned “Wings of Hope” series. A portion of each sale will benefit his Project Resiliency where for over a dozen years Allen and his wife Lauren Monroe have worked passionately with veterans from Vietnam, Desert Storm, Iraq and Afghanistan. Allen and Wentworth Galleries will donate a portion of each and every acquisition to benefit the Foundation.
“Painting has been a passion of mine for quite a while and I was inspired to branch out and try some new techniques. One that I particularly enjoyed was working with metal as a medium. I’m really proud of how these new works turned out and I can’t wait to share them at the upcoming Wentworth Gallery shows in Florida.”
Speaking about his favorite pieces, “Saint Charlie,” Allen remarked, “Losing Charlie is the end of an era… if it wasn’t for Charlie I wouldn’t be a drummer… very sweet man who I had the honor of meeting.”
“I am honored to host Rick and his art at my galleries. His work continues to evolve and not only represents his own story of perseverance, resiliency and the human spirit but is also a beacon of hope for others.” – Christian O’Mahony, Principal Wentworth Gallery**
Sonic Perspectives interviewer Rodrigo Altaf had a long and interesting chat with Allen, and you can listen or watch their conversation now below.
IN GALLERY APPEARANCES BY RICK ALLEN (artist will be in attendance at all three showings)
FRIDAY, DECEMBER 9 7-10 PM
Wentworth Gallery at Seminole Hard Rock Hotel & Casino Address: 5804 Seminole Way#103
SATURDAY, DECEMBER 10 5-8 PM
Wentworth Gallery at Boca Raton Town Center Mall
Address: 6000 Glades Road#1089
SUNDAY, DECEMBER 11 2-4 PM
Wentworth Gallery at Las Olas
Address: 819 East Las Olas Blvd.
The post DEF LEPPARD’s Drummer RICK ALLEN Talks About His Upcoming Fine Arts Exhibits, Touring with MÖTLEY CRÜE: “We Thought They Were Done, But Didn’t Take Much Convincing to Bring Them on Tour with Us” appeared first on Sonic Perspectives.
It’s been four whole years since we last got a full-length record from the deathcore heavyweights Chelsea Grin. “Eternal Nightmare“, the band’s first record with Tom Barber as the new vocalist, was nothing short of a triumph for the band. It displayed the strength of the band to move forward as a complete and unified force, despite any outside opinions regarding the lineup, or the musical direction being taken. With that being said, it’s hard to believe that anyone would be unhappy with the material Chelsea Grin has put out since 2018. The live footage of the group playing “Hostage” at Vans Warped Tour in 2018, for example, has been watched nearly 5 million times. That’s not too bad, don’t you think?
Fast forward four years, and we’re on the cusp of being dealt a powerful blow of new material from the three-piece. Stephen Rutishauser, David Flinn and Tom Barber have put together two full-length records, titled “Suffer In Hell” and “Suffer In Heaven“, with the first part released this past November and the second coming in March, respectively. From what listeners have heard so far, it seems that most, if not everyone, can not wait. The opening track to “Suffer In Hell“, “Origin Of Sin“, is a massive symphonic frenzy showing just how dark and gothic the group is keen to get, whilst “Forever Bloom“, featuring the late and legendary Trevor Strnad, shows off the straight up face-melting death metal riffs that sound just as fun as they are wild.
Sonic Perspectives writer Josh Muncke sat down with vocalist Tom Barber to talk about both upcoming albums, the last four years, spirituality, the true inspiration of his lyrics, and what it was like having Trevor Strnad appear on a Chelsea Grin track. Enjoy their chat below, and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post TOM BARBER Of CHELSEA GRIN Tells All About Recent Double Album “Suffer In Hell”: “It’s CHELSEA GRIN Like You’ve Never Heard Us Before” appeared first on Sonic Perspectives.
Bands splitting in two very rarely carry the same amount of freshness and innovation as their source: Oliver/Dawson Saxon, Riley’s LA Guns, Jack Russel’s Great White…for whatever reason, there’s always something off with these spinoffs. Luckily, that’s not the case with Venom Inc., one of the two entities carrying the flag of metal pioneers from Venom. While the band that maintains the original name chose to play only the songs from the beginning of their career, Venom Inc. kicks it up a notch, with a mix of old and new.
In practical terms, Venom Inc. is the reincarnation of Venom’s lineup from the late 80’s and early 90’s: Jeff Dunn (aka Mantas – Guitar), Tony ”Demolition Man” Dolan (bass and vocals) and Anthony “Abaddon” Bray (drums). They reformed in 2015 for the famous Keep It True Festival, and put out an incredible effort in 2017, titled “Avé,” which the fans quickly embraced. For this year’s release, “There’s Only Black”, a change of lineup came into place, with the addition of drummer Jeramie ‘Warmachine’ Kling replacing Abbadon. Their current sound is a solid blend of the classic sound of the band with modern-day thrash.
“There’s Only Black” Album Artwork
Already on the list of best albums of 2022, “There’s Only Black” doesn’t hold back, with songs like “How Many Can Die” and “Come to Me” approaching the speed of light, while “The Dance Macabre”, “Burn Liar Burn” and “Inferno” explore dark alleys and moodier overtones.
Bassist/vocalist Tony ”Demolition Man” has plenty to say about the writing process of the album, the band’s increasing popularity, the touring plans and his acting career. He sat down with Sonic Perspectives interviewer Rodrigo Altaf to discuss all these topics and much more. Watch or listen to their all-encompassing conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.
The post TONY ”DEMOLITION MAN” DOLAN Reflects On State Of VENOM INC. Band And Recent Studio Album: “Music Is An Emotional And Intellectual Connection – The Response To The Band Has Been Amazing”. appeared first on Sonic Perspectives.
Tarja Turunen has enjoyed a long solo career, one which began in 2007 with her breakout album “My Winter Storm.” More than ten years later, Tarja will release her best-of compilation, titled “Best Of: Living the Dream” on December 2. The album begins with new release “Eye of the Storm,” and is otherwise packed full [...]
Sometimes our simple ideas take on a life of its own, and what started as something simple ends up taking more room in our lives than initially expected. That seems to have been the case with Tobias Sammet, who decided to do a project called Avantasia as a side project from his main band Edguy. [...]
On December 2nd, the five-time-Grammy-nominated guitarist Kenny Wayne Shepherd will release ‘The Trouble Is…25,’ a top-to-bottom reinterpretation of his seminal album “Trouble Is…,” which struck the match that reignited modern blues upon its release 25 years ago. “Trouble Is…25” will be accompanied by a live DVD filmed at The Strand Theatre in Shepherd’s hometown of [...]
Drowning Pool recently released their first album in six years, “Strike a Nerve”, via T-Boy/Ume. Though the album’s lyrical sentiment may sound as if it was written about the hardship of the pandemic, it was actually written and recorded prior to the lockdown. Perhaps a foreboding sense of the grim things that awaited the world! [...]
Extreme industrial metal pioneers Fear Factory have faced their fair share of setbacks in recent years: member changes, lawsuits, tours being cancelled due to Covid… and yet they keep moving, maintaining their legacy and going forward. Their latest album of original material, 2021’s “Aggression Continuum”, proved there’s still plenty of gas in the band’s spaceship, [...]
The casual music fan might not instantly recognize the name Jeff Berlin, but chances are they’ve heard at least one album where he played. Through his lengthy year career, Jeff has played with artists such as Bill Bruford, Allan Holdsworth, Larry Coryell, Pat Martino, John McLaughlin, Yes, Frank Zappa, Patrick Moraz, Richie Kotzen, Derek Sherinian [...]
Fit For A King is easily one of the metalcore juggernauts of current times, and yet they’ve been a powerful force in the scene for ages. They possess an insanely heavy take on metalcore that edges on deathcore at times. They’re equally adept, however, in allowing beauty to shine through in special moments. 2020’s “The Path” [...]
Having joined Porcupine Tree’s touring band in 2022, Randy McStine has suddenly popped on the radar of many who hadn’t heard of him before. The talented multi-instrumentalist and vocalist started his professional career with his Lo-Fi Resistance project over ten years ago, continuing with solo album releases, a collaboration with Nick D’Virgilio and Jonas Reingold [...]
Space Of Variations dropped an incredible album in March this year, titled “Imago“. The Ukrainian metalcore group grabbed attention with their unpredictable songwriting that was fueled with an intense aggression. To drive their themes home, especially surrounding the current war being perpetrated by Russia on Ukraine, the music videos to accompany tracks such as “Imago” and [...]
Wednesday 13, the Duke of Spook just released his 9th and most deadly full-length studio album to date, “Horrifier,” today (Friday, October 7th) via Napalm Records. During Wednesday 13‘s twenty-year career, he has cultivated a unique macabre image while climbing to horrendous fame with his electrifying solo music and The Murderdolls. Now he’s back with [...]
“Digital Noise Alliance”, the new offering from Queensrÿche, will be released on October 07th via Century Media. Produced by Chris “Zeuss” Harris, who was also at the helm on the band’s two previous albums, “Condition Hüman” and “The Verdict”, it contains eleven tracks of original material, and some editions will also feature a cover of Billy Idol’s [...]
Grammy Award-winning guitarist John Petrucci, founder of progressive metal giants Dream Theater will embark on his first-ever headlining solo tour of North America this Fall. The 28-date North American tour kicks off this October 5th in Providence, RI, and concludes in Toronto, ON, on November 17th. John will be promoting his 2020 solo album, “Terminal [...]
The combined forces of guitarist Jim Matheos (Fates Warning) and singer Steve Overland (FM) brought us one of the best albums of the year so far. Released on September 23rd, the self-titled debut album of Kings of Mercia counts also with the talents of Simon Phillips (drums) and Joey Vera (bass). Kings of Mercia was [...]
Georgia-based rock band COLLECTIVE SOUL – Ed Roland (lead vocals, guitars), Dean Roland (rhythm guitar), Will Turpin (bass, backing vocals), Johnny Rabb (drums, percussion) and Jesse Triplett (lead guitar, backing vocals) have come a long way since their iconic single “Shine,” off the album “Hints Allegations and Things Left Unsaid” (1993), reached the top of the [...]
KEN Mode‘s sound is often defined as “noise rock”, but the experience of listening to a full length of these Manitobans can drive you way further than this label would suggest. Mixing up desperate screams with dissonant melodies and well placed keyboard parts result in a weird concoction, which can be an often challenging, but rewarding [...]
While some bands take their commercial approach to extremes, to the point of having five-year plans and detailed marketing strategies, King’s X always chose to follow their intuition. Originally from Springfield, Missouri, they gained popularity in the alt-rock circuit in the mid-90’s, and pleased metal-heads, funk, prog and grunge fans in equal measures. Bassist dUg [...]
Skid Row will be released their newest and most powerful album to date, “The Gang’s All Here”, on October 14th via earMUSIC. Skid Row are a band that continues to push the musical boundaries of their sound while re-exploring their successful musical past. Snake Sabo [guitar], Scotti Hill [guitar], Rachel Bolan [bass], Erik Grönwall [vocals], [...]
August 19th marked the release of the self-titled debut of SiX by SiX. The collaboration between Saga‘s guitarist Ian Crichton, singer, producer and bass player Robert Berry, and Saxon‘s drummer Nigel Glockler will impress the most demanding progressive rock fans out there. Six By Six was born when Robert and Ian started exchanging ideas and [...]
A lone soldier on the front-lines of creativity, John Mitchell has been at the forefront of forward- thinking and progressive rock for decades now. As a member of such revered prog ensembles as It Bites, Arena, Frost* and his own projects Kino and The Urbane, he has become a uniquely vital contributor to the modern [...]
Just seventeen months after the release of Adrian Smith and Richie Kotzen‘s debut album, the guitar titans are back with another stellar release, “Better Days…And Nights.” It’s comprised of four new studio songs, and five powerful and energic live songs were recorded while on their tour of the West Coast and the UK. This new [...]
An electrifying rock fusion group, CRAZY SWEDES original compositions feature jaw-dropping improvisation combined with an amalgam of jazz, funk, and rock set against a solid groove. CRAZY SWEDES is a mainly instrumental group that falls somewhere between the worlds of the jazz fusion era of the 70s/80s and the jam band scene of today. Expect [...]
On September 29th, the German metal kingpins Accept will embark on their first U.S. tour in ten years. The tour supports their 2021 studio album, “Too Mean to Die,” which they were not properly able to tour in support of due to Covid-19. This U.S. tour will cover 21 cities starting in Nashville and ending [...]
It’s a good time to be a GWAR fan. The alien warriors based in Richmond, Virginia released the critically acclaimed album “The New Dark Ages” on June 3rd, with an accompanying graphic novel entitled “GWAR: in the Duoverse of Absurdity”. In parallel, the documentary “This is GWAR”, available on Shudder, tells the story of the [...]
The Devil Wears Prada is one of those bands that seem to always be moving forward, always writing, always touring. The band has been around since 2005 (17 years!), with their first full-length coming out in 2006. Since then, they’ve established themselves as one of the most successful and foundational bands of the genre. Albums [...]
Few bands have forged a cult following in the way that Stick To Your Guns have. Their near 20-year career has seen them go from strength to strength, releasing intensely political music that became anthems for the metal and hardcore masses. The only thing more intense than the music they played was their dedication to [...]
Singer, songwriter, and healing artist, Lauren Monroe will release her newest album, “Messages from Aphrodite,” on September 9, 2022. It is the follow-up to her 2021 release, “Under the Wolf Moon.” Lauren‘s music and healing have always been a focal point in her life, and it shines bright in her music and lyrics. Her latest [...]
“Beer commercials, car commercials, and Cobra Kai.” I straight up thought that legendary drummer Mark Zonder’s reference point for his new band would have been Toto or Journey. There aren’t really any sonic similarities between them and A-Z, but they all share these very key traits: at their core, they’re expertly-written, hook-saturated pop songs performed [...]
John Norum is most famously known around the globe as being the lead guitarist and a founding member of the band Europe. Together they are Sweden’s most prominent rock export selling over 10 million albums worldwide with songs like “The Final Countdown,” “Carrie,” and “Rock the Night.” Recently the song “The Final Countdown” reached 1 [...]
Derek Sherinian seems determined to make up for the lost time. Having spent nine years working with the super-groups Black Country Communion, PSMS and Sons of Apollo, and touring with Billy Idol, Joe Bonamassa and others, he is now focused on his solo career. 2020 saw the release of “The Phoenix”, Derek‘s first solo record [...]
When one has been witness to the seismic changes that have occurred in the rock music world since the late 1960s, it’s a wonder that said person didn’t lose his way trying to navigating such an ephemeral realm. Yet whether it was the olden days of British soft rock circa the psychedelic craze, or the [...]
While the pandemic seems like a thing of the past at the moment and many artists are going on extensive tours, there are still albums coming out which were written at the height of Covid-19. That’s the case with Eric Johnson‘s two upcoming releases, “The Book of Making” and “Yesterday Meets Today”. Blue Élan Records [...]
Vinny Appice is a metal legend, plain and simple. Having started his career playing with Rick Derringer and with his band Axis, Vinnie rose to fame after joining Black Sabbath on the Heaven and Hell Tour. With Black Sabbath he recorded the follow up album “Mob Rules,” before leaving to become the drummer of Dio‘s [...]
Released on March 18, 2022, “Postcards from the End of the World” is the sophomore effort of Shining Black. The band was formed as a collaboration between vocalist Mark Boals (Yngwie Malmsteen, Ring Of Fire, Royal Hunt) and guitarist Ölaf Thorson (Labyrinth, Vision Divine). Completing the lineup are Oleg Smirnoff on keyboards & piano, Nik [...]
What do you do when your band is on a break, and you’re used to playing a million notes every night? If your name is Jordan Rudess, the answer is: you go out on a solo tour and play a million other notes per show. Dream Theater finished a successful run of shows in Europe and North America, [...]
Saint Asonia shouldn’t need an introduction. Their members have been hard rock mainstays in bands such as Three Days Grace and Staind, and that powerful and iconic energy is easily recognisable in Saint Asonia’s sound. By turning inward, Saint Asonia amplify every element of their signature sound. Skyscraping hooks soar higher, while arena-ready rhythms rattle [...]
Charlie Griffiths, guitarist for British Progressive Metal band Haken, has just released his debut solo album “Tiktaalika”. Written on six-string guitars, “Tiktaalika” is a riff-fest, where Charlie professes his love for heavy music. The influences of Slayer, Metallica, Pantera and Megadeth are palpable, and the whole album is a trip through the early beginnings of [...]
Violently jarring riffs, vicious vocals and a healthy dose of electronic dissonance shoved in your face. That’s only a few things to be expected in Vatican’s sophomore LP “Ultra”. The Savannah, Georgia 5-piece have put together 14 intensely diverse tracks that spans for a good 35 minutes. They’re hellbent on transporting you to a world [...]
For 37 years, TESLA continues to write, record, and tour to the excitement of their fans. In 2014 they released a stellar straight-up, hard-rocking album, “Simplicity” and then in 2019 released “Shock,” a rock album but with a bit more polished and shine. It was written and recorded while on tour in hotels, backstage, and [...]
Fozzy released their new album, “Boombox”, last May 6th, 2021. The album features two Top 10 singles, “Nowhere to Run” and “Sane.” “Boombox” sees Fozzy returning with a diverse, attitude-drenched collection of songs. It’s everything the band’s faithful followers have come to expect from the band while pushing their signature sound forward. Songs like “I [...]
It goes without saying that the Covid pandemic reaped havoc upon the metal scene, but even more than a year of worldwide lockdowns could not blunt its spirit, let alone extinguish it. Case and point, Belgian upstarts and old school metal revivalists EVIL INVADERS, who looked into the catastrophe that was 2020 and saw opportunity. [...]
“This whole trip was chaos,” confides a visibly exhausted Timo Kotipelto. The reserved but charismatic Stratovarius front-man and I are tucked away in a corner at the lobby of the Sonesta Midtown hotel, spitting distance from popular ProgPower USA breakfast spot The Silver Skillet. The pair and their band-mates are about twelve hours removed from [...]
Michael Romeo’s latest solo outing, “War of the Worlds Part II” came out a few months ago, and it’s still impressing the minds and ears of any half respectable prog-metal fan. With extreme guitar wizardry, grandiose orchestration and the soaring voice of Dino Jelusick, the album expands the sonic universe created on “War of the [...]
Comprised of vocalist/guitarist Jim Wilson (Mother Superior), guitarist Scott Ian (Anthrax), bassist Joey Vera (Armored Saint), drummer John Tempesta (White Zombie, The Cult) and vocalist Pearl Aday (Pearl), MOTOR SISTER was originally formed as a Mother Superior covers band made up of diehard fans – and aided by sharing the same front-man – playing the [...]
Slash featuring Myles Kennedy and the Conspirators will be releasing “Live At Studios 60”, exclusive vinyl for Record Store Day on June 18th. It’s their first-ever double live LP featuring their entire 2022 album, “4;” plus performances of the group’s Top 5 Rock Radio Hits, including “You’re A Lie,” “World on Fire,” “Anastasia,” and “Driving [...]
Pete Evick is an award-winning guitarist, producer, songwriter, and author who has spent the last 19 years touring the world as the music director and guitar player for rock icon Bret Michaels. Throughout much of the 90s and beyond, Pete has released albums for his bands Evick and Some Odd Reason. His music and production [...]
Michael Monroe has long been at the forefront of breaking musical barriers from Hanoi Rocks to his successful solo career. He returns with his highly anticipated album; “I Live Too Fast to Die Young,” due out on June 10th via Silver Lining Music. In an era where the pandemic and war are seamless bookends to [...]
To the current generation, a music scene bereft of traditional heavy metal might seem a horror story from a bygone era, but for those who grew up in the 90s, it was an all too real experience. But while such an eventuality might seem hopeless and bleak, it was the same setting that saw the [...]
Projected is back with their eagerly-awaited third album, “Hypoxia,” due out on June 24th via Rat Pak Records. The band features John Connolly of Sevendust on guitar/vocals, Vince Hornsby of Sevendust on bass, Scott Phillips of Alter Bridge on drums, and Eric “E-Rock” Friedman of Tremonti on guitar. Three albums deep, and this may be [...]
Hollow Front are on the verge of releasing something immensely powerful. Known for their soaring choruses mixed in with earth-shattering breakdowns, the band has been making a mark on the scene since their inception. Their 2020 album “Loose Threads” was a pivotal moment for them, their first full-length album. It was widely lauded, and proved [...]
In 2009, a massive surge of energy was felt around the world. That surge was Miss May I’s debut album “Apologies Are For The Weak”. Since then, that energy has been ever-present. Miss May I are a household name in the metal world; a band that has always been relentless in terms of touring and [...]
It has been said that 2022 is the year of the RXPTR, and if the beginning months of this year are anything to go by, then it’s safe to say that this is definitely the case. UK rockers RXPTRS have been busting out some top-of-the-range singles recently in the build up to their debut album [...]
The newest hard rock super-group, Iconic from Frontiers Music SLR, features some legendary and iconic musicians like Michael Sweet (guitars), Joel Hoekstra (guitars), Marco Mendoza (bass), Tommy Aldridge (drums), and Nathan James (vocals). Their debut album, “Second Skin,” will be released June 17th. The band’s collective resumes speak volumes for their talent, abilities, and musicianship. [...]
WINDWAKER are not your everyday metalcore band. How many times have you heard that? Probably a fair few, but how many times have you actually listened? Well, this is the time that you listen. The 5-piece from down-under are making moves, and people are definitely starting to notice. Their last EP “Empire” was a short [...]
Thornhill, one of Australia’s most exciting metal bands, is blasting a suave and stylish wave of energy into the metal world. The 5-piece from Melbourne quickly rose to prominence after the release of their 2019 EP “The Dark Pool“, emanating a dark and atmospheric soundscape that stunned the metalcore world. The past couple of years [...]
Just over a year ago Evergrey released “Escape of the Phoenix,” an album that was not only the band’s greatest commercial success, but was also widely acclaimed as one of the best albums of 2021. At Sonic Perspectives, we rated it number one. While many other bands would have been content to rest and revel [...]
Skid Row has always been one of the hardest working bands in the metal / hard rock circuit, but their touring schedule in 2022 is absolutely insane, even for their standards. With over sixty shows booked until the end of the year and hitting all corners of the world, it seems that nothing can stop [...]
Ann Wilson’s voice has been reverberating in the rock world for nearly 50 years, topping the charts for multiple decades with the legendary band Heart. With 8 platinum recordings and over 35 million albums sold, the Wilson sisters brought Heart into homes around the globe and became pioneers for front-woman-led rock bands. After finishing their [...]
John5 is one of the hardest working musicians on the planet, and to prove it, he will be heading out on his Spring/Summer 2022 Sinner North American Tour before a Rob Zombie tour this summer. Johns‘ tour starts in California on April 19th and takes him through June, ending in Atlantic City, New Jersey. Supporting [...]
Some collaborations do take time to mature and to come into fruition. In the case of James LaBrie and Paul Logue, it took 11 years for their album to finally be concluded. Their story began in 2011, when James lent his voice to a song called “No Holy Man”, from Paul‘s band, UK melodic metal [...]
One of Australia’s greatest metal exports, Northlane, are gearing up for the release of their 6th full-length album, “Obsidian”. For Northlane fans, April 22 can’t come quickly enough. Since the Sydney-based outfit blew listeners out of the water with “Alien” back in 2020, there has been a thirst for more. People didn’t know what they [...]
The march of time may bring about change, but the memory of those who lived the glory days of thrash metal in the 1980s don’t have to settle for a future that doesn’t possess the music they love, at least if Germany’s own thrash titans Destruction have anything to say on the matter. Having been [...]
The career of music producer Terry Brown will always be indelibly linked to that of Canadian power trio Rush. Having worked with Jimi Hendrix, The Who and many others, Terry’s affiliation with Rush helped to shape the trio’s sound, and captured their wildest ideas into musical form, during what many define as their “golden era”. [...]
Many names have come and gone in the European death metal scene over the years, but Deserted Fear is one that has had some clear staying power. Hailing from Eisenberg, Germany and riding a consistent wave of studio output since the early 2010s, they’ve ascended an impressive evolutionary ladder from a rustic old school style [...]
Texan heavy hitters Kublai Khan have been around for over 10 years now, and since their inception, they’ve grabbed the throats of listeners, refusing to loosen the grip. Their intense blend of metal and hardcore is what they’re known for, and their latest release is a powerful display of that. “Lowest Form Of Animal” was [...]
PROGJECT also dubbed “The Ultimate Prog Rock Experience” is the brainchild of drummer extraordinaire Jonathan Mover. Jonathan is not only a session drummer to the stars but has performed with some heavyweight artists like Alice Cooper, Joe Satriani, Steve Vai, GTR, and Marillion, to name just a few. The idea for PROGJECT came to fruition [...]
Trench just dropped their latest EP “Encased In Chrome“, and the sheer immensity of its heaviness and rawness is something that can’t be overlooked. At 11 minutes long, the EP is a sonic blast of aggression that is directed towards the listener, in the true Trench fashion. The tracks are unpredictable, oppressive in their production, and yet [...]
There is no such thing as being too late to the party when it comes to hard rock, and few know this better than Kurt Deimer, who seemingly came out of nowhere a few months back and unleashed an EP’s worth of familiar yet highly unique odes to the aforementioned style. More discerning minds may [...]
Memphis May Fire need no introduction whatsoever. Their genre-defining take on metalcore that has spanned 16 years still has a grip on the metal world, and that grip doesn’t seem to be loosening at all. On June 3rd, the 4-piece will be unleashing their 7th record “Remade In Misery”, crushing any beliefs that the band [...]
ENVY OF NONE, the new band from Alex Lifeson (RUSH), Andy Curran (CONEY HATCH), Alfio Annibalini and singer Maiah Wynne, will release its self-titled debut album on April 8 via Kscope. Through its 11 tracks, the group explores a wide array of styles, with enticing vocal melodies, pop hooks and atmospheric passages. The genesis of [...]
There is something to be said for sticking to one’s proverbial guns when times get tough, and few know that better than Cage and Death Dealer screamer Sean Peck. Sharing a birth year with the godfather of grunge Kurt Cobain, his would be a far different path of swimming against the tide of detractors of [...]
It’s been just over a month since Venom Prison dropped their widely-lauded album “Erebos”. 10 tracks of intelligent and powerful death metal take the listener to some incredible places, bolstered by Greek mythology as a vessel for the themes and concepts. The band released something of epic proportions, creating an insanely powerful album that pushed [...]
Michael Romeo is back! Four years after his first proper solo album, “War of the Worlds, Pt. 1” was released, the sequel is finally among us. Romeo kept the same rhythm session as the first album – bassist John ‘JD’ DeServio and drummer John Macaluso – but added singer Dino Jelusick to the fold. The [...]
With 43 years of music under their belts and a demanding yet extremely dedicated fan base, MARILLION‘s approach to making music remains fresh to this day. Granted, the pandemic made their writing process a little bit more complicated than usual, but they came out of it with yet another incredible offering. Entitled “Ah Hour Before [...]
Andy Timmons is gearing up to add another highlight to his storied career by releasing his newest solo album “Electric Truth” on April 1st as an independent release. The upcoming album features all-new material from Andy since “Resolution” in 2006 and “Theme From A Perfect World” with the Andy Timmons’ Band in 2016. “Electric Truth” [...]
In an age where stagnation and the status quo are king, bedroom electronic artist, Patrick Cortes, has chosen a road less traveled. Operating under his alter-ego, Animalweapon, Cortes has once again crafted a viable smorgasbord of electronic bliss with his newest offering, “Set of Constraints,” where Cortes once again has shown the world that you [...]
Dust City Opera are gearing up for the release of their sophomore album, “Alien Summer” this Friday, March 4th. The 6-piece from New Mexico brings about an eclectic mix of grunge, gothic country, folk and rock whilst diving into atmospheres of cosmic horror, transformation and transcendence. They recently released the music video for new song [...]
When the collaboration between Neal Morse, Nick D’Virgilio, and Ross Jennings was announced, prog fans worldwide received the unexpected association with great excitement. Even though we already know the outstanding results that the partnership between Morse and D’Virgilio usually provides, the presence of Ross Jennings, vocalist for prog-metal powerhouse Haken and Novena, gave the project an unpredictable and exciting appeal. From the beginning, it was announced that “Troika”, [...]
The thrash metal wave that took the West Coast of the United States by storm may have crashed down and receded with the onset of the 1990s, but you wouldn’t know it by how the original Bay Area sound has been continually cropping back up of late. While there is no shortage of new blood [...]
Recently, we caught up with one of the better drummers of the modern Jazz era, Tomas Fujiwara, a man who, along with a precious few others, is keeping the heart and soul of thunderous Jazz drumming alive in the hallowed image of greats such as Max Roach, Elvin Jones, and Jimmy Cobb. Among other things, [...]
Jonas Lindberg started his band project The Other Side back in 2013 after having already released an EP “In Secret Pace” in 2008, which was recorded as an exam-project at the Music Academy in Piteå, Sweden. The high quality of his songwriting, musicianship and production has largely been a well-kept secret but that’s about to [...]
Aldo Nova is back and better than ever, releasing two albums this April. The first album features ten brand new studio tracks from this 25 song Rock Opera, “The Life and Times of Eddie Gage,” due out on April 1st. His second release, “Aldo Nova 2.0 Reloaded,” features nine of his classic songs re-imagined and [...]
Less than two years after the release of Ayreon‘s “Transitus”, tireless Dutch musician Arjen Lucassen is back with new music. This time, the prog-metal/rock icon opted to revisit the Arjen Anthony Lucassen’s Star One project, which until now was held in hiatus. With “Revel in Time”, almost twelve years of drought under the Star One moniker are broken, and it does so with [...]
Tommy Denander’s journey in music started like so many before him, dreaming of taking the stage, in front of thousands of screaming fans, while daydreaming to the sweet sounds of KISS. From a young age, Denander knew that his calling was the guitar, and as he dug deeper, absorbing the stylings of Ace Frehley, Eddie [...]
The Teutonic thrash metal scene is often seen as the darkest and most sinister incarnation of the subgenre in existence, but one of its chief proponents, namely Frankfurt’s own Tankard has been bucking this trend since their mid-80s inception. Generally regarded as the progenitors of “beer thrash”, they’ve never been one to shy away from [...]
Nick D’Virgilio is one of the most versatile musicians in rock. Drummer par excellence, who has handled sticks for Big Big Train, Spock’s Beard and more sessions than one can count. A top singer-songwriter, whose 2020 solo album “Invisible” was one of the best of the year. And vocalist? The man’s sweet leads and background [...]
Seek Harbour are a post hardcore band from Kent, UK. Mixing gorgeous melodies with powerful hardcore sequences, the band have already surpassed 170,000 streams on Spotify alone. With an EP planned for early 2022, the band is giving the rock world something to look forward to, growing quickly and resonating with fans of bands such [...]
“Have you ever worked on something and been really proud of it, and the next day you feel like the worst in the history of humankind?” Why yes, Carlos, I know that feeling rather well. “It’s like that,” Carlos continues. “When we write the music, we double-check everything. We want to make every second of [...]
With their recently released album “Epigone,” Boston-bred aural imaginauts WILDERUN take a deeper and darker step beyond their expansive, prog-leaning metal scores that so skillfully came together on 2019’s “Veil of Imagination.” The result is a record that is at once grandiose, complex, sophisticated and unexpectedly human. “This is certainly a “meta” record for me,” [...]
Canadian progressive thrashers Voivod have a new album in the can, the intense “Syncro Anarchy”. Recorded during lockdown, it was produced by Francis Perron at RadicArt Studio, and just like all their other albums, it features a cover artwork created by their drummer Michel “Away” Langevin. Written and recorded in just over a month, “Syncro [...]
A little over 2 years to the day that ANNIHILATOR unleashed their 17th studio album and mad thrashing foray “Ballistic, Sadistic”, seasoned veteran Jeff Waters has opted to revisit an older and largely unsung effort from his recent past, resulting in a retooled and revamped retread of 2007’s collaborative effort “Metal”, aptly dubbed “Metal II”. [...]
The Minneapolis band, FuZZrd, have a knack for documenting searing personal experiences, strapping them to turbo-charged guitar riffs, and creating kick-ass rock n’ roll, and have released their ferocious debut studio album, “Near Life Experience,” this past December. They make no attempt to hide the scars acquired on the journey. But rather than dwell on [...]
Have you found yourself questioning why we as a social collective conform so effortlessly, what our purpose is, are we in control of our lives or simply floating through the plains of a perceived existence? Are our dreams our own construct, or the design of a different entity. These are the very questions that WE [...]
If you’re a fan of 80’s hard rock, chances are that you heard Terry Ilous‘ voice and might not even be aware. He rose to fame with the French-based XYZ and released two albums with the band, before they were swallowed by the grunge movement in the early 90’s. They have since reformed, and continue [...]
If there’s one person that can be called a prog-rock icon, that’s Ian Anderson. Having started his first band in 1963, he went on to form Jethro Tull in 1967, and became the band leader and the sole member to have been on all lineups of the group. He also released several solo albums which [...]
One of the most prolific bluesmen of our generation, Eric Gales is back with a new album, entitled “Crown”. More than a simple collection of songs, “Crown” is an artistic statement, which showcases Eric’s talent and sees him throwing the gauntlet to other musicians and claiming his place in the pantheon of best guitar players [...]
“…There’s no better feeling than when your inner ear tells you to go some place and you get there…” – Steve Vai Steve Vai is gearing up for a very productive year in 2022. The first shows of his “Inviolate World Tour” have already been booked, with over 50 shows booked for North America. This [...]
2022 is shaping up to be a very busy year for guitar mastermind Joe Satriani. The renowned axeman is the world’s most commercially successful solo guitar performer, with six gold and platinum discs to his credit (including one more gold award for the debut album by his band Chickenfoot), and sales in excess of 10 [...]
The fantastic progressive metal band Chaosbay returns with a new EP called “Boxes”. With it, the young German band continues to blur any border between genres, delivering a forceful EP that manages to find a precious balance connecting a demanding and an accessible soundscape. As a result, the listener can expect crushing riffs, rumbling breakdowns, and highly technical [...]
After releasing debut album “Satellites” to great acclaim in late 2020 (catch our review of the album here), the dynamic Silent Skies duo will grace the start of 2022 with sophomore album “Nectar” on February 4th. The product of collaboration between vocalist Tom Englund (Evergrey, Redemption) and keyboard player Virkam Shankar (Redemption) has been incredibly [...]
Leslie Mandoki is perhaps the most successful prog/jazz rock musician/catalyst you have never heard of. In 1991, Ian Anderson, Jack Bruce, and Al Di Meola became founding members of his band project Mandoki Soulmates and for almost three decades, Leslie Mandoki has continued to unite a “who is who” of the icons of Anglo-American and [...]
2021 was a banner year for English guitarist and keyboard player Dave Bainbridge. Culminating in the release of his ambitious solo album “To the Far Away”, Bainbridge also made a significant impact on two of the year’s other top albums: Lifesigns’ “Altitude” and Downes-Braide Association’s “Halcyon Hymns”. Equally masterful on guitar and keyboards, Bainbridge has [...]
Nine years after forming ASHES OF ARES, Matt Barlow and Freddie Vidales return with their third full-length album “Emperors and Fools”. The writing process began almost immediately after their previous album “Well of Souls” was released, and showcases a true collaborative effort between the two, with ideas originating from one or the other, then evolving [...]
The Motor City Madman Ted Nugent has just released a brand-new single, “Come and Take It,” from his upcoming album, “Detroit Muscle,” which will be unleashed upon the world on April 29, 2022. The new single is a powerful, patriotic rock anthem that reminds Americans of the sacred 1st and 2nd Amendment rights, a subject that [...]
When we think of the phrase Bonded By Blood, we think of two things: a brotherhood that is meant to outlast the trials of war, pain, and time… and the almighty EXODUS. With a bond forged in youth and decades-old friendship, the undisputed masters of thrash metal have recently returned with their eleventh studio album [...]
Black Veil Brides are constantly growing, evolving and, reinventing themselves with each album. Their latest masterpiece, “The Phantom Tomorrow,” which was released October 29th, has been met with critical acclaim and no wonder because this is this is their most sonically powerful and melodically heavy release to date. Black Veil Brides consists Andy Biersack [vocals], [...]
Paul Gilbert is one of those instantly recognizable guitar players of our generation. He picked up his first guitar when he was 5 years old. By the time he was 15, he was featured in Guitar Player magazine. After graduating from the Guitar Institute of Technology (GIT) in Los Angeles, Paul immediately joined the faculty [...]
Frank Bello, bassist for the East Coast thrash metal kings, has recently released his memoirs, “Fathers, Brothers, and Sons: Surviving Anguish, Abandonment, and Anthrax” co-authored with Joel McIver via Rare Birds. ANTHRAX has sold over 10 million albums, traveled the globe more times than they care to count while captivating audiences from the world’s biggest [...]
Having established his identity with the revered prog-metal band Haken, as well as his involvement with Novena and other projects, Ross Jennings launches his own solo career in 2021 with “A Shadow of My Future Self”. Embracing classic rock, pop and folk stylings, the album gives another side of Jennings than most fans have heard [...]
Andy Summers is one of the most recognizable names in rock music with a career spanning more than 40 years, between The Police and as a solo artist. On October 15th, he released his newest solo album, “Harmonics of the Night.” It’s an intimate and atmospheric-sounding album that feels as if you are watching him [...]
Lucifer is back, and just in time for Halloween! The Stockholm-based band used the pandemic to record yet another album that rings in a new chapter and dives even further into the realms of grandiose and old fashioned rock, with a severe morbid twist. This time around they entered guitarist Linus Björklund’s Studio Ryssviken for [...]
One would not be aware that there’s a pandemic still affecting the world if their only indication of the state of things was Udo Dirkschneider‘s work ethic. Since March 2020 he has released a live album, a concept album in collaboration with the German Armed Forces Concert Band and worked again with other Accept alumni [...]
Two-time GRAMMY-nominated and millions-selling progressive music titans Dream Theater will be releasing their newest progressive-metal masterpiece, “A View From The Top Of The World,” on October 22nd via Inside Out Music / Sony Music. The new album lives up to Dream Theater‘s reputation as a band that can blend well-crafted guitar and vocal melodies with [...]
The Darkness will be releasing their newest album, “Motorheart,” on November 19th via Cooking Vinyl. The band consists of Justin Hawkins on vocals/guitars, Dan Hawkins on guitars/backing vocals, Frankie Poullain on bass, and Rufus Taylor on drums. There is everything a fan of The Darkness could possibly want on “Motorheart,” pumping riffs, punchy drums, infectious hooks, [...]
A man that needs virtually no introduction to any discerning melodic rock fan, Jeff Scott Soto launched his career at a young age in tremendous fashion as the lead vocalist for Yngwie Malmsteen’s debut album, “Rising Force” and the sophomore album, “Marching Out”. That first step into the spotlight has led to a career that [...]
Legendary bassist and King’s X frontman dUg Pinnick is gearing up to add another highlight to his storied career, releasing his newest solo album “Joy Bomb” on October 15 via Rat Pak Records. The upcoming album is dUg‘s first solo album of new material since 2013’s “Naked” and features thirteen brand new tracks. From the [...]
ROB ZOMBIE guitarist John 5 will release his new solo album, “Sinner”, on Friday, October 29 (just in time for Halloween) via Big Machine Records. “Sinner” is everything you could expect from John5 and his incredible guitar-playing abilities. The album is instrumentally electrifying and features a power trio of John 5 (guitar), Logan Miles Nix [...]
Gus G. made a name for himself with Firewind, the band he initially launched as a solo project in 1998 that made its official debut in 2002. In that time the band has released nine albums, while Gus has also recorded and toured with Mystic Prophecy, Nightrage, Arch Enemy, Dream Evil and Ozzy Osbourne. He [...]
On the 27th of August, Venues dropped their sophomore album “Solace” via Arising Empire. It’s a powerful album containing new musical directions, but most importantly new members. You can read our own review of the album here. The band has brought on Daniela ‘Lela’ Gruber to deliver some incredible clean vocals, whilst Valentin Hahnemann has [...]
For the past two decades the band Magenta has built a solid reputation through their top-notch live shows and catalog of studio works. At times celebrating classic prog terrain and at other times pushing new horizons, Magenta have established founder Rob Reed’s passion for prog even as he has explored other musical projects such as [...]
Rage is back from isolation with their always dependable blend of thrash and melodic metal. Their new album “Resurrection Day” was released last Friday, September 17th, and features a revamped lineup, with two guitar players. After last year’s departure of guitarrist Marcos Rodriguez, Stefan Weber (ex-Axxis) was enlisted, followed just a few weeks later by [...]
Legendary progressive-rock band YES will be releasing their newest album, “The Quest,” on October 1st via InsideOutMusic. You can check out our review of the album here. “The Quest” contains 11 songs and continues to live up to their reputation as a band who can blend well-crafted guitar, vocal melodies, and stellar musicianship with sheer [...]
At 74 years of age and a career spanning seven decades, one would think it’s time to slow down…unless your name is Carmine Appice! He is currently a member of Vanilla Fudge, Cactus, and ours with his brother Vinnie doing percussion shows. In addition to that, he’s doing a podcast series with his brother, entitled [...]
John Corabi of The Dead Daisies and Motley Crue fame has just released a new song, “Cosi Bella (So Beautiful).” It’s a classic pop-rock song musically inspired in part by “Penny Lane” of The Beatles and “Killer Queen” of Queen. It’s a song that showcases John‘s innate ability to combine great riffs and strong melodies. [...]
Grinder Blues are a hard rock blues trio featuring dUg Pinnick of King’s X on bass and vocals, guitarist and vocalist Jabo Bihlman, and Scot “Little” Bihlman on drums, percussion, and vocals. They offer a high-energy, bone-crushing sound and from-the-gut songwriting, putting a fresh, contemporary spin on the blues tradition. “El Dos” is like a [...]
After releasing the highly acclaimed double concept albums “The Similitude of a Dream” and “The Great Adventure”, The Neal Morse Band are back with their eagerly anticipated fourth studio album “Innocence & Danger”. The new release sees them changing their name to NMB and returning to writing an unrelated collection of individual tracks that span through two discs containing 100 minutes of music. [...]
If the light at the end of the tunnel could be converted into sound, you can bet it would sound exactly like Leprous. Over the last two decades, the Norwegian mavericks have produced some of the deepest and most rewarding music imaginable, steadily evolving from their beginnings as exuberant prog metal explorers, to their current [...]
Mark Tremonti will be releasing his fifth solo album, “Marching In Time”, on September 24th via Napalm Records. This new record displays a diverse, attitude-drenched collection of 12 songs. It’s everything the band’s faithful followers have come to expect from Mark Tremonti‘s solo records while continuously pushing his signature sound forward. Songs like “Now and Forever” [...]
Many bands have done livestreams over the past couple of years since they have been unable to properly tour. Tesseract took the concept to a whole new level by producing the cinematic P O R T A L S event. P O R T A L S was ambitious concept created to offer an escape in a time [...]
Make no mistake about Tuesday the Sky. The beautifully weird solo project from Fates Warning honcho Jim Matheos is the closest thing to a full solo vehicle these days. Whereas his primary gig is a collaboration with Ray Alder, and OSI was a partnership with Kevin Moore, Tuesday the Sky is all him, with a [...]
Andy Summers is most notably known around the globe for being the guitarist in The Police. His innovative and unique style of playing has profoundly influenced the band’s signature sound and helped propel them to becoming one of the greatest bands in history, selling more than 75 million albums. Aside from being inducted into the [...]
George Lynch is one of the most respected guitarists in the world who has forged an outstanding 40-year career with his unique playing style in Dokken, Lynch Mob, and his solo projects. On August 20th George will be releasing his first-ever guitar instrumental record, “Seamless,” via Rat Pak Records. “Seamless” is a fiercely powerful new [...]
For the past decade-plus, Big Big Train have increasingly grown their fanbase and the size of their band. Almost on the verge of becoming a supergroup, the membership was so chock full of talent that it was continuously on the verge of tripping over itself. The pandemic and other factors brought some changes to the [...]
Contrary to popular belief, metal bands and fans do not walk around with frowny faces all the time, looking like they want to murder someone. In fact, humor and metal have walked hand in hand since forever. From Ozzy‘s stage antics and weird facial expressions with Black Sabbath, to Spinal Tap, S.O.D. and Steel Panther, [...]
The name of Yngwie Malmsteen has always stood for uncompromising excellence. In a career that now spans more than 40 years he has proven himself to be a unique artist. You can try to categorize him in any way you wish. But the manner in which this supreme Swedish craftsman has continually developed his music makes Malmsteen sublimely [...]
Ben Mink has surely cast a wide musical net throughout his career. From the early performances with the rock/country group Mary-Lou Horner, he went on to be the violin player of Canadian prog rockers FM, and collaborated with artists such as k.d. Lang, Rush, Barenaked Ladies and many more. As a producer, his credits are [...]
Powerhouse vocalist and front-man for KIX, Steve Whiteman, will be releasing his first-ever solo album, “You’re Welcome,” on July 2nd. The album contains twelve high-energy songs that are everything that you would expect from him; pumping riffs, punchy drums, infectious hooks, and huge choruses. Collaborating on this solo effort is longtime friend and drummer for [...]
K.K. Downing is a legendary name and figure in the history of metal. He helped found Judas Priest some 50 years ago and scaled the heights of rock ‘n’ roll as that band developed through the ‘70s and finally achieved its signature sound in 1980 with the groundbreaking album “British Steel.” Downing’s rough and tough [...]
On June 11, Dennis DeYoung released his most recent—and supposedly final—album, “26 East, Vol. 2.” It’s the culmination of more than 50 years in the music business, one that has seen some incredible successes, especially with his former band Styx. At age 74, DeYoung has nothing left to prove. But he had some more arrows [...]
Frost* came onto the scene in 2006 with their acclaimed debut album “Milliontown”. Comprised of a formidable group of musicians, it was primarily led by Jem Godfrey with John Mitchell (Lonely Robot, Kino, It Bites) closely in tow. These two have weathered several changes in the band during the intervening years and, accompanied by longtime [...]
“Hellbound” will be released on June 25th via Round Hill Records in North America, Earache Records in the UK, Europe, and Australia, and Sony Japan in Japan. The 10-track record was produced by Marti Frederiksen, who previously produced the “Black Butterfly” and co-wrote one of their biggest hits, “Sorry.” Buckcherry‘s stellar new release is packed [...]
The development of progressive pioneers INTERLOPER has not been an instant nor mundane process to say the least. On the contrary, it has procured particular expertise in creating endless layers of transcendent sound. Initially set as the title of one of the album’s most vibrant tracks, it quickly became obvious that the feel of “Search [...]
Legendary rockers Styx will be releasing their 17th studio album, “Crash of the Crown,” on June 18th via Alpha Dog 2T/UMe. “Crash of the Crown” is the follow-up to their successful record “The Mission,” which was released in 2017! Throughout their career, Styx has sold over 80 million albums worldwide, had twelve Top 10 smash [...]
“Shai is a lobster.” This is the regard in which new-ish Subterranean Masquerade front-man Davidavi Dolev holds his bandmate, keyboardist Shai Yallin. Lobsters, you see, have evolved an impressive pair of eyeballs that not only enable them to see just fine several hundred feet below salty sea surfaces, they also have a 180° field of vision. But that’s not what “Vidi” is talking about. [...]
Tommy Clufetos has already carved his name in the history of rock and metal by working with reputable acts such as Rob Zombie, Ted Nugent and Alice Cooper. The cherry on the cake of such an illustrious touring career was being handpicked by Ozzy to join his band and to replace Bill Ward in Black [...]
Rick Allen is most notably known around the globe for being the drummer in Def Leppard. His powerful and unique rhythmic voice has profoundly influenced the signature sound of Def Leppard in their rise to become one of the greatest rock bands in history, selling more than 100 million albums worldwide with two prestigious Diamond [...]
Two of rock’s most notable figures have partnered up for a new project, Sunbomb. It features guitar hero Tracii Guns of LA Guns and iconic vocalist Michael Sweet of Stryper. The record, “Evil and Divine,” will be released on May 14th via Frontiers Records. “Evil and Divine” is a pure heavy metal record that mixes [...]
Todd Michael Hall of Riot V will be releasing a solo album entitled “Sonic Healing” on May 7th via Rat Pak Records. Todd and Kurdt Vanderhoof of Metal Church collaborated on the songwriting, and Kurdt also produced the record. With thought provoking lyrics and rock solid guitar riffs, “Sonic Healing” delivers all the power and punch that [...]
The staying power of 80’s hard rock is undeniable. After its rise to fame and being almost completely erased from the airwaves by grunge, there seems to be a resurgence of the genre, and many of the same bands who were part of the “first wave” are still around. Granted, the days of filling stadiums and [...]
Rock, metal, jazz, songwriter material, progressive rock, finger style guitar – Jane Getter does it all, including vocals. On her new album “Anomalia” with her musical project Jane Getter Premonition, she employs all of these styles with her all-star band and a few choice special guests. The result is a devastatingly hip recording which will [...]
Guitarist Esa Holopainen has been making music with Finnish melodic death metal act Amorphis for over 30 years. Thanks to the metallic and melodic beauty of such classic albums as “Tales from the Thousand Lakes”, “Elegy” and “Skyforger”, Holopainen‘s magnificent abilities to create enchanting atmospheres and innovative riffs have become widely known within the worldwide [...]
Over the years, the Australian progressive metal scene has brought much joy to fans of the genre throughout the world. In recent years, the frequency of appearance of exciting and innovative bands has accelerated, and the quality has remained at a very high level. On April 9, the Brisbane-based progressive metal band The Stranger released their [...]
Talent surely runs in the family when it comes to Rufus Miller. His interest in electric guitar came from his father Dominic, an accomplished musician with several solo albums, who has been collaborating with Sting since 1991. Slowly but surely, Rufus started to learn basic chords and to play grunge songs, which to this day [...]
Just two years after making an impact with their debut album “Moving Backwards,” the Finnish progressive metal band Wheel released their sophomore album “Resident Human” on March 26th, 2021. With their new album, Wheel invites the listener to an introspective and reflective journey that seeks to perform a symbolic deconstruction of humanity. Deep topics are presented through a brilliant blend of [...]
One of the most enduring metal acts on the planet, MEGADETH has been recording a new album in the last few months, and updates have been given by their main-man Dave Mustaine from time to time. While the new songs are being honed in the studio, the band’s bass player, Dave Ellefson, aka “Junior”, is [...]
The new chapter of SUNSTORM is here! Originally designed to showcase a musical style similar to singer Joe Lynn Turner’s Melodic Rock/AOR roots, the band now has a new face on the front-man’s seat, in the form of LORDS OF BLACK and RAINBOW singer Ronnie Romero. His debut with the group, “Afterlife” was recently released [...]
Very few people who are called an “icon” in the metal community deserve such title, but Geoff Tate is surely worthy of that denomination. Tate fronted the prog metal pioneers Queensrÿche from the band’s inception through the peak of their success with albums like “Operation: Mindcrime” and “Empire”, all the way to a controversial exit [...]
Coming from Hanover, Human Fortress has been flying the flag of power metal and taking no prisoners since their inception in 1997. After several lineup changes and eight albums, things seem a little bit more stable since Brazilian singer Gus Monsanto joined them in 2013. The band recently put out an album entitled “Epic Tales [...]
Smith/Kotzen, the collaboration between guitar giants Adrian Smith and Richie Kotzen, has been teased with cryptic posts on social media in the last few months. More recently, three singles have been revealed: “Taking My Changes”, “Scars” and “Running”, which carry both players’ early influences on their sleeves. On March 26th fans will be able to [...]
The unstoppable creative force known as Magnus Karlsson is back with a new project that stands out from the previous work he has done before. This time, his impressive mastery focuses on creating a symphonic metal opera under the Heart Healer moniker, which is set to release its debut album titled “The Metal Opera by Magnus Karlsson” on March 12, 2021. [...]
For decades John Young has played with an amazing array of rock’s best musicians and performers, making a living as full-time professional musician in esteemed company. From Asia to The Scorpions to The Strawbs to Bonnie Tyler and much, much more, he has covered a wide terrain while being one of the nicest guys you’ll [...]
“This album is all about growth,” she continues. “Every cloud has its silver lining, and there’s always light at the end of a dark period.” “If you look for it,” she adds. Anneke van Giersbergen is no stranger to facing daunting odds with a self-assured smile. Indeed, she penned one of her former band’s most [...]
The mighty Saxon will be releasing their latest album “Inspirations” via Silver Lining Music on March 19th, 2021. It’s a cover album of 11 songs by the bands and their songs that influenced Saxon and fueled their success. Saxon was one of the bands in the late 70s and early 80s who led the charge [...]
In his in spare time between work with Yes and Asia, Geoff Downes began a new project with noted singer songwriter Chris Braide. Ten years later, the fourth release from the Downes Braide Association (DBA), “Halcyon Hymns”, is a beautifully textured album, as colorful as the Roger Dean cover art which adorns it. You can [...]
Over the course of five decades Steve Lukather has placed an indelible stamp on pop culture. Alongside his tenure as the only member of Toto to never take a hiatus from the band, he has performed on thousands of albums as a session musician. Amongst these musical contributions are some of the most successful, influential [...]
The Dead Daisies have done it again and released another phenomenal record entitled “Holy Ground” this past January via SVP/Spitfire Records. The Daisies are starting 2021 on a high note and moving to the next chapter of their career by welcoming Glenn Hughes to the band on vocals and bass, joining Doug Aldrich [guitar], David [...]
Earlier in the month, The Rock & Roll Hall of Fame announced their 2021 list of nominees. Among the illustrious group of artists was heavy metal favorite; Iron Maiden! It was a long-overdue recognition for the band as they are arguably one of the world’s biggest metal bands, selling over 100 million albums worldwide during [...]
Bayley Alexander Cooke, (widely known as Blaze Bayley), is a survivor. From his early days with WOLFSBANE, through his tenure with IRON MAIDEN and his prolific solo career, he has faced more than the usual share of hardships. A motorbike accident, the loss of loved ones, and criticism from the IRON MAIDEN fanbase who never [...]
Drummer Jason Rullo, from the internationally acclaimed prog metal band Symphony X, is venturing into new territories. His new band 3 Rules, with Ron Sanborn on guitar and Artha Meadors on bass, is focused on instrumental music with no boundaries. The end result can sometimes be heavy, melodic or jazzy, depending on what goes through [...]
Owner of one of the most distinctive voices in rock, Eric Martin has had an unstoppable career. Best known as the longtime vocalist for the Los Angeles-based hard rock group Mr. Big, he found chart-topping success with the band in the early ‘90s with the ballad “To Be With You.” Since his early efforts with [...]
Ricky Warwick, guitarist and vocalist for Black Star Riders, Thin Lizzy, and The Almighty, will be releasing a brand new studio album, “When Life Was Hard and Fast”, on February 19th via Nuclear Blast. “When Life Was Hard and Fast” is a musically diverse record that rips incredible melodies and thought-provoking lyrics. Stand-out tracks include [...]
Even earlier than many people thought, the British hard rock band Inglorious is back in the game with a new album under their sleeves. “We Will Ride” sees Inglorious riding to lands farther from those previously ridden, and they do it commanded by the prodigious voice of Nathan James, as well as killer riffs, prominent musicianship, and high concentrations of energetic hard [...]
Steven Wilson may have originally made a name for himself through his band Porcupine Tree but his subsequent solo career has seen his influence and impact grow exponentially. Having made music with a variety of projects and bands over the past three decades, Wilson has long pushed his edge of being a big fish in [...]
Todd La Torre, vocalist for Queensrÿche, will be releasing his debut solo record, “Rejoice in the Suffering”, this Friday February 5th via Rat Pak Records. As global touring came to a sudden and unexpected halt earlier this year, Todd used the pandemic downtime to put the finishing touches on his debut solo record. He and Craig [...]
Not many can say they had a stellar 50 year career in any line of work, let alone one in a competitive market such as the music business. Michael Schenker is a survivor, who went through every trend, fad and style through the years, and remained a respectable force in the guitar realm. From his [...]
Joel Hoekstra does know how to keep himself busy. Aside from being one of David Coverdale’s gunslingers in Whitesnake, he has done tours with Cher and Trans-Siberian Orchestra. In 2015 he created a solo project entitled Joel Hoekstra’s 13, and released the debut album “Dying to Live”. February 12th sees the release of the band’s [...]
Accept are back with another killer record, the aptly titled “Too Mean to Die”. Since their reformation in 2010, now with Mark Tornillo on vocals, they have experienced quite a resurgence, with a string of very successful albums, beginning with 2010’s “Blood of the Nations”. “Too Mean to Die” follows the same tradition of their [...]
When TRANSATLANTIC released their debut album at the turn of the century, fans of classic symphonic progressive rock rejoiced. The combination of Mike Portnoy, Neal Morse, Pete Trewavas and Roine Stolt resulted in a powerhouse of prog material that can only be described as epic. They took an extended sabbatical following their follow-up “Bridge Across [...]
Throughout its almost forty years of existence, change has been the only constant in VOIVOD’s trajectory. From their punk beginnings, evolving into thrash, incorporating prog influences, odd time signatures and melodic sensibilities, they seem to be always on the move. The release of 2018’s “The Wake” finally brought them much deserved recognition, with the band [...]
Lee Rocker, who is famously known as the bassist for The Stray Cats, will be releasing a new solo record “Gather Round,” on January 22nd via his label Upright Records. You can’t think of music in the 80s without thinking of the multi-platinum superstars, The Stray Cats, who sold 10 million albums and had 23 [...]
Australian guitarist Plini has been making waves as one of prog’s rising stars, earning accolades from both Steve Vai and Guitar World in his steady ascent to fame. In late 2020 the instrumentalist released “Impulse Voices,” his first release with the spotlight carefully attuned to his every move, but proved unflinching under the pressure for [...]
The casual observer could be forgiven for thinking that multi-instrumentalist virtuoso Vikram Shankar‘s recent rise to prominence in the prog-metal scene happened overnight. He did, after all, recently appear on Redemption‘s long-awaited live album, which documents his live debut with the band. And very soon after that, he’s also released the debut from the absolutely [...]
IRON MAIDEN… Arguably the most seminal heavy metal band in the annals of music history. The solely mention of its name strikes joy in the hearts of millions of metal fans, and immediately your mind takes you back to one of their gigs, with of giants columns of pyro, Spitfire planes flying overhead the frenzy [...]
Whenever a metal band chooses to go off the beaten path, it always causes polarizing views: old school fans refuse to embrace it, while a younger generation is quicker to give it a chance. From a combination of the powers of Frédéric Leclercq (Kreator, Sinsaenum, ex-Dragonforce) and Saki (Mary’s Blood) comes Amahiru, a band that [...]
Guitarist, songwriter, vocalist and producer Jakko Jaksyzk has experienced an amazing career which has culminated this past decade in his joining King Crimson. Filling the shoes of such legends as Greg Lake, John Wetton and Adrian Belew is not for the faint of heart but Jaksyzk has the talent and experience to be able to [...]
Throughout his lengthy career as a multi-platinum mixer, sound engineer and producer, Richard Chycki has helped to materialize the sonic visions of artists such as Rush, Dream Theater, Mick Jagger, Aerosmith, Jeff Healey and many more. Known for his pioneering mix work in multichannel audio, prog legends Rush entrusted Chycki to remix the multi-million selling [...]
Ashley Purdy embraces his outlaw reputation with the release of his brand-new EP, “NashVillain”. Five thematic songs that perfectly express what he has been through in the last year and showcase his musical diversity. From the dark country vibe of “Outlaw Man” to Charlie Daniels‘ cover of “Long Haired Country Boy,” Ashley provides his fans [...]
Long known for his role in metal bands Kvelertak and Djevel, vocalist and songwriter Erlend Hjelvik is breaking out as a solo artist with his latest project, titled Hjelvik. Described as “blackened Viking heavy metal,” the experienced artist crosses a number of genre boundaries in his debut album “Welcome to Hel.” Accompanied by Skeletor guitarist [...]
On the 35th anniversary of the release of “Midnite Dynamite,” Maryland, hard rock icons KIX will release “Midnite Dynamite Re-Lit” on November 20, 2020. For this release, KIX partnered with long-time collaborator and the album’s original producer, Beau Hill. It’s a two-disc set that includes a powerfully crisp remixed and remastered version of “Midnite Dynamite,” [...]
Phil Campbell and the Bastard Sons are back with another killer release, the boldly titled “We’re the Bastards”. What started as an excuse for Phil to play with his sons soon evolved into its own entity, and the band has moved from playing a set of covers in the afternoon slots at European summers to [...]
There are many album widely considered like masterpieces of progressive rock, however you may not know that “Unfolded Like Staircase” by DISCIPLINE. is world renowned with a cult following since its release in 1997. DISCIPLINE. formed in 1987 in Detroit Michigan, a far cry from progressive rock music. The band had been writing progressive rock [...]
From hard rock, to heavy metal, punk, progressive rock and AOR, Jeff Scott Soto has done it all. The singer, who has more than 85 albums under his belt along with numerous collaborations and recordings, has established himself as a consummate professional who manages to expertly deliver with his vocal performances across multiple musical genres. Soto’s [...]
“The demos were so exact that we all knew exactly what we needed to do,” says longtime Fates Warning vocalist Ray Alder from his flat in Madrid. “I usually record with either Bobby or Joey, but this time I was living in a police state.” Alder speaks at length about the unorthodox process by which [...]
Tesla bassist Brian Wheat will release his autobiography, “Son of Milkman – My Crazy Life with Tesla,” on November 24th via Post Hill Press. Brian offers readers a compelling, heartfelt, and honest look at the struggles he and the band faced in their career with addictions, health issues, their break-up, and the reunion. Not only [...]
Every once in a while a band emerges seemingly out of nowhere and provides a debut album that surprises you with depth, skill and musical landscapes filled with imagery. Such is the new band RUBBER TEA hailing from Bremen Germany having just released their album RUBBER TEA. RUBBER TEA is a progressive rock quintet who [...]
Amidst a sea of cancellations and delays in both shows and album releases, most artists have hunkered down to wait out the storm that 2020 became. Yet true to a reputation for embracing the unorthodox and conquering the nigh impossible, the eponymous Devin Townsend has spend these last six months busier than ever. Over the [...]
Maximum infused rock band, The Struts, are releasing their new album “Strange Days“ today, October 16th, via Interscope Records. The four-piece glam rocker of Luke Spiller [vocals], Adam Slack [guitar], Jed Elliott [bass], and Gethin Davies [drums]are delivering a supercharged album to the fans during this difficult time of the pandemic. What started as an [...]
With their 40th anniversary just around the corner, Armored Saint is ready to unleash their eight full-length album, entitled “Punching the Sky”. Written and recorded in the last two years, it’ definitely a step up from its predecessor, 2015’s “Win Hands Down”. A diverse, attitude-drenched collection, it’s everything the band’s faithful have come to expect [...]
With 2020 being an absolutely devastating year for live concert shows, we’re happy to say the good folks over at ProgStock Festival are doing their best to keep the live music happening. ProgStock Festival is American Northeast only progressive rock music festival, especially now that RosFest has moved down to Florida. They’ve been keeping the [...]
There are few mainstays in the world of extreme metal who have been as consistent in their quantity and quality of releases, yet as varied in style, as Norwegian vocalist and multi-instrumentalist Ishahn. Though Ihsahn may be best known for his role in founding Emperor and for the legacy he built as a cornerstone to [...]
P.J. Farley has just released his second solo album, “Accent the Change,” on September 25th through HighVolMusic. His professional career as a musician started at the age of 16 as the bassist for Trixter. Shortly afterward, Trixter signed their first major-label record deal with MCA Records in 1989 and sold well over 1 million records with [...]
In 2017 Ayreon released ‘The Source” which revisited the ‘Forever/Planet Y’ saga, and now three years later it is time for something completely different… “The year is 1884, these are dark, troubled times, fraught with greed, envy and prejudice…” begins our narrator and storyteller, Tom Baker… The brand-new sprawling and epic studio album “Transitus” is built [...]
Music has become more important than ever in recent times. As a result, the triumphant return of AMARANTHE feels particularly timely. The Swedish six-piece have spent the last decade establishing themselves as a formidable, positive and fervently melodic force for metallic good. From their explosive self-titled debut in 2011 to the more sophisticated, streamlined likes [...]
Few drummers have a name as recognizable as Herman Rarebell, and with good reason, as Herman‘s drumming was instrumental in propelling the Scorpions to be one of the most successful rock bands of all time. Additionally, he was responsible for writing the lyrics to many of the band’s biggest hit songs, like “Rock You Like [...]
If you’re a prog metal fan and haven’t been living under a rock for the last few months, you know that Dream Theater’s John Petrucci has a new album out. Available on all digital platforms since August 28th, “Terminal Velocity” comes fifteen years after John’s first album, “Suspended Animation”, and consists of eight tracks which [...]
“Whoosh!” is Deep Purple’s twenty first solo album, and judging by the energy it exudes, there’s no end in sight for these British rockers. Their third collaboration with producer Bob Ezrin honors their lengthy history, and broadens their musical palette, with songs like “Man Alive”, “Throw My Bones” and “Nothing At All” being added to [...]
The multi-talented Snowy Shaw has been called a “worldwide underground superstar.” After more than 30 years of touring the world, he has earned himself a rock-solid reputation as one of the most hard-working, multifaceted “art-ist” with loads of groundbreaking creativity and integrity. In 2018, his highly acclaimed solo debut “White Is The New Black” received [...]
In 2013 a brand-new progressive rock band named Sound of Contact released the fastest selling debut album ever on the Inside Out Music label: “Dimensionaut”. Their lead singer and drummer, Simon Collins, had a familiar surname to fans of prog-rock and they soon came to discover that the apple doesn’t fall far from the tree. [...]
The Ocean, the progressive and post-metal band, is set to release their new album “Phanerozoic II: Mesozoic | Cenozoic” on September 25th through Metal Balde Records (CD / digital) and the band´s Pelagic Records (vinyl). Such album will conclude the Phanerozoic journey initiated by the band’s previous record, with a bolder, more experimental, darker, and more progressive musical direction. The result [...]
With an undeniable penchant for darkness, Season of Mist has a keen eye for unique musical gems scattered across the world. Further diversifying an already extensively varied label is Hungarian dark folk act The Devil’s Trade, the solo project from longtime metal artist David Mako. Having first made his name with various metal bands including [...]
From his beginning as part of the Shrapnel Records cast to his explorations into hard rock with “Howe II”, and playing with artists such as Enrique Iglesias, Michael Jackson and N’Sync, Greg Howe seems determined to challenge the norm and to take roads less traveled. His unique style separated him from the usual “endless shredding” [...]
A name eponymous with the dawn of extreme folk metal itself, Finntroll are poised to impress with their return album “Vredesvävd.” Seven years of studio silence were offset by filling those years with intensive touring, including top festival placements across Europe with folk metal compatriots including Korpiklaani, Ensiferum, and Turisas. Headlining tours celebrated both their [...]
Ayreon, the musical project masterminded by Dutch musician Arjen Anthony Lucassen has amassed a rabid fan-base and lots of accolades attention since the arrival of the debut album “Actual Fantasy”. Arjen has crafted an entire fantasy universe in which we can be immersed for hours, with multiple stories and connections between albums, achieving a sci-fi [...]
Death metal band Kataklysm will be releasing their fourteenth studio album “Unconquered” on September 25th, following two years after their prior album “Meditations.” With the band’s 30th anniversary just around the corner in 2021, “Unconquered” brings a greater sense of aggression than the band’s prior work while maintaining their unmistakable signatures. Still retaining two of [...]
The metal God Rob Halford will be releasing his highly anticipated memoir, “Confess, The Autobiography”, on September 29th via Hachette Books. Not many bands can leave a lasting impression, and legacy like Judas Priest have done over the last half-century. Arguably one of the world’s biggest bands in the world, Judas Priest have become a household [...]
Having first emerged from the Bay Area thrash scene in 1984 alongside the likes of Exodus and Testament, Heathen is preparing to release their fourth full-length album “Empire of the Blind” on September 18th through Nuclear Blast Records, following more than ten years after their third album “The Evolution of Chaos.” Heathen is no stranger [...]
“It’s black, it’s death… and it’s incredible,” Cammie Gilbert tells me from somewhere in the city of my birth. You might think she’s describing her band, Oceans of Slumber, or their upcoming eponymous album, or a particular cut on the record. But you’d only be partially correct. She’s actually telling me about the controlled burns prescribed in the [...]
Christian hard rockers STRYPER‘s forthcoming album, “Even The Devil Believes” will be released on September 4th via Frontiers Music Srl. Filled with the band’s signature riffs, harmony-laden melodies and positive themes, the 11-track project is STRYPER‘s first studio album with Perry Richardson (FIREHOUSE) on bass and background vocals. Most of the recording sessions for STRYPER‘s new [...]
It’s no secret that we at Sonic Perspectives are big fans of keyboardist extraordinaire Derek Sherinian. He was kind enough to give us the details of the first Sons of Apollo album when it came out, and also spoke at length with us during an interview addressing all of his career. Known by his versatility, and [...]
The Tangent, the progressive group, led by Andy Tillison, is set to release their 11th studio album called “Auto Reconnaissance” on August 21st, 2020 through Inside Out. With their new record, the band continues to demonstrate that there are no limits to its progressive rock cocktail. With an astonishing fluidity, it mixes a plethora of musical ingredients that includes [...]
Coming seven years after their last full-length release, thrash metal legends Onslaught will be releasing their seventh studio album on August 7th through AFM Records. “Generation Antichrist” is one of the band’s most brutal offerings yet, inspired by their old-school sound while drawing on the benefits of modern production. Stripped-back and overflowing with aggression, “Generation [...]
Canadian punk rock band The Fallaways have released their second EP “Sunset Ave,” following three years after their debut EP “Skiddish” from 2017. Balancing party rock music with substance from their personal lives, The Fallaways pursue a musical style that has been recommended for fans of Fall Out Boy and Green Day. Based in the [...]
Bassist/vocalist Marcel ‘Schmier’ Schirmer co-founded thrash legends Destruction in Weil am Rhein, Germany, in 1984. Albums such as 1985’s “Infernal Overkill”, 1986’s “Eternal Devastation” and 1987’s “Mad Butcher” EP secured Destruction’s place in the German Big Four alongside countrymen Kreator, Tankard and Sodom. Their latest album “Born To Perish” was released in 2019, and received [...]
On June 26th, acclaimed symphonic black metal band Carach Angren released their sixth full-length album “Franckensteina Strataemontanus” to eagerly awaiting fans of horror and extreme metal alike. With their own unique twist on the popular lore of Frankenstein, the Dutch duo step back from the bleak narratives which fueled 2017’s “Dance and Laugh Amongst the [...]
Summer is here at last, and if you’re looking for the perfect soundtrack to celebrate the season, look no further: BPMD is here to provide you with the ultimate collection of American party anthems, with a killer track-list modernized for younger ears. The band is of course, the amalgamation of talents such as Bobby Blitz [...]
You don’t need to be a die-hard ’80s metal fan to know that the fruits of an artistic alliance between Danger Danger singer Ted Poley and guitarist/producer Steve Brown of Trixter will make melodic rock fans rejoice. Ted and Steve have been friends for a long time. They were playing the same club circuit with [...]
American singer, multi-instrumentalist, bandleader and progressive rock composer Neal Morse has kept himself as busy as ever despite the current pandemic times. He recently announced the release of “Sola Gratia”, his new solo progressive rock concept album, on September 11th, 202, and prior to that we will see the arrival of the third installment on [...]
The debut release of super-duo Marco Minnemann and Randy McStine offers a densely crafted, hard-hitting album which takes listeners through a range of unexpected directions. When not recording and touring with his main band The Aristocrats or on solo albums, Minnemann is one of the most in-demand drummers in the rock, prog-rock and metal world. [...]
Not many bands can leave a lasting impression and legacy on fans like Soundgarden has done. In their relatively short career, Soundgarden was an influential band releasing seminal songs such as “Outshined,” “Black Hole Sun,” and “Rusty Cage.” Songs that helped changed the musical landscape while ushering in a new style of alternative rock known [...]
Chris Slade is famously known for his drumming with AC/DC, but most people may not know that he also played with Jimmy Page in The Firm, Asia, Manfred Mann’s Earth Band, David Gilmour, and Tom Jones to name just a few. For the last seven or eight years, he also has a very successful touring [...]
Within Temptation has always been a mutant musical entity. From their early material, which had gothic elements, through the incorporation of symphonic metal influences, to the dramatic shift on their latest album “Resist” – read our review here – they never made the same album twice. This formula – or the lack of one thereof [...]
After seven full-length albums, Lamb of God has titled their eighth studio record with their own name, suggesting that “Lamb of God” is the statement of a band prepared to fully embrace their place as a veteran metal act. This definitive moment for the group comes in the wake of longtime drummer Chris Adler leaving [...]
Legendary Rock & Roll Hall of Fame drummer and founding member of the original Alice Cooper Group, Neal Smith, has released a new solo album, “POP 85/95”, this June. The Alice Cooper Group was one of the biggest bands in glam rock history and true pioneers of the genre, influencing countless bands like KISS and [...]
Best known for his longtime role as the lead guitarist and backing vocalist for American metal band Sevendust, 2020 saw Clint Lowery embark on his career as a solo artist with the release of his first album in January. Having previously released solo material under the project Hello Demons Meet Skeletons, “God Bless the Renegades” [...]
June 12th brings another release from Frontiers Records. Magnus Karlsson’s Free Fall the third one under this moniker, is another evidence that Magnus‘ creative well seems endless. Just like the band’s other two releases, it features a long list of special guests on vocals: Ronnie Romero, Dino Jelusick, Noora Louhimo and many others help Magnus [...]
With tried and tested metal anthems like “Rebellion (The Clans Are Marching)”, “Excalibur” and many more, Grave Digger are one of the most influential and pioneering bands of the German heavy metal scene since their inception. 2020 brings a relevant milestone in the career of these Teutonic metal masters, as they celebrate their 40th year [...]
For over 25 years California-born but Indiana-based drummer, vocalist and multi-instrumentalist Nick D’Virgilio (NDV) has been delighting music fans, first and foremost through his drumming. Having recorded with Genesis, Big Big Train, The Fringe and hundreds of other artists, toured extensively with Tears for Fears, played with Peter Gabriel, and been featured drummer in well [...]
Her Chariot Awaits is a newly formed hard rock/metal group featuring the highly regarded Spanish singer Ailyn Gimenez (ex-Sirenia) on lead vocals and the multi-talented American guitarist and producer Mike Orlando (Adrenaline Mob, Noturnall, Sonic Stomp). This exciting new musical alliance is yet another creation of Frontiers Records, a label that seems determined to combine [...]
Switzerland apparently has a pretty metal academic scene. It’s so metal, in fact, that not only was Eluveitie singer/ harpist Fabienne Erni able to write, record, and present a pop-metal concept album to earn her master’s degree in music performance, the band she formed for her thesis in comprised almost entirely of students at her [...]
Bill Hubauer and Dave Buzard have a lot of history. They met in 6th grade – or was it 2nd? In any case, they gravitated toward each other, in part because of a shared love of music. They listened to great groups as they group up, including Kansas, Gamma, and many more. And like a [...]
Vandenberg is back! The band has a fresh lineup and a new album in the bag, simply titled “2020”. Produced by Bob Marlette (Black Sabbath, Alice Cooper, Marilyn Manson, Rob Zombie), “2020” obviously showcases the talent of Whitesnake alumni Adrian Vandenberg, and also brings two other Dutch talents in the rhythm section: bassist Randy van [...]
Caligula’s Horse is a name that has garnered an ever-increasing amount of attention within the dynamic world of progressive metal, turning heads in 2017 with the ambitious concept album “In Contact.” Met with critical acclaim and a spot on the Australian Top 50 charts, “In Contact” was the launchpad for Caligula’s Horse to embark on [...]
Born in 2019 as the apparent off-spring of Spock’s Beard, Pattern-Seeking Animals features the soaring vocals of Ted Leonard, the dexterous and creative rhythm section of Dave Meros and Jimmy Keegan, and mastermind songwriter and keyboardist John Boegehold. After releasing their debut CD in the summer of 2019 the band wasted no time in coming [...]
Over the last ten years, Haken have moved from eclectic up-and-comings to a household name in progressive metal. This is a feat accomplished over the course of five full-length albums, the latest of which was “Vector,” released in 2018. Though it was not apparent at the time of its release, “Vector” was merely the first [...]
Coming out of the ashes of 3 Inches of Blood, which disbanded in 2015, Ritual Dictates released their debut record ir” on April 3rd via Artoffact Records. The band is inspired by a wide array of styles and instruments. The music itself has straightforward elements of metal and grind, with detours into anything from black metal [...]
Sorcerer continues to deliver epic doom metal in all of its might with their third full-length album “Lamenting of the Innocent,” set to be released on May 29th. Reborn in 2010 with original members Anders Engberg and Johnny Hagel after splitting in the early 1990s, the band joined forces with a new lineup and rejuvenated [...]
Todd Sucherman, drummer for the legendary rock band Styx, has just released his first-ever solo album, “Last Flight Home”, on May 2nd via Aqua Pulse Records. Recording of “Last Flight Home” took place between July 2019 and January 2020 with Todd handling all lead vocals and principal drumming in addition to co-writing nine of the [...]
Gary Husband is the living personification of “Fusion.” Seen in music as the combination of jazz and rock elements, fusion opens the music and musicians up to boundless possibilities resulting in the creation of something truly unique. Husband’s playing does precisely that. Many musicians are multi-instrumentalists. But their instruments of choice are usually closely related. [...]
“It was mentally draining…” for the audiences to experience one of the landmark songs of both progressive metal and epic doom being performed live, in its entirety. I can personally confirm that Kjetil overstates nothing with this seemingly grand claim. Half the Atlanta’s Center Stage audience was stunned, and the other half wept. The towering [...]
Ryan Roxie, who is well known for being Alice Cooper‘s longtime lead guitarist and collaborator, is now helping people who want to learn how to play guitar. He and his team dubbed the Roxie Guitar Army, have come up with an innovative and unique approach to learning to play the guitar using instructional videos called [...]
Stewart Copeland doesn’t seem to ever stop. With The Police he toured the world “six times over, from the sea of Japan to the Cliffs of Dover”, as their song “Too Much Information” used to say. The band went on an extended hiatus after the Synchronicity Tour ended in 1984, and would only play together [...]
Nightwell, the best kept secret in Toronto emo-rock, released their self-titled debut album on April 3rd 2020. “Nightwell” is packed with the kind of tight, punchy sound and glossy, arena-ready vocals that are prerequisites for a band descended from mid-’00s post-hardcore like Saosin, Emarosa and Funeral for a Friend. The addition of new singer Jason [...]
“…At a show in Sacramento, in the space of five minutes, three people came up to me with life-changing stories. They told me how my music had helped them to deal with the loss of people close to them… ” The White Buffalo is Jake Smith – singer, songwriter, guitarist, teller of stories, Emmy nominee; [...]
Mainstays in the American metal scene since the early 2000s, Trivium are preparing to release their most definitive work to date on April 24th, offering up an album brimming with the strong character the band has spent almost two decades building. Each album Trivium has produced has lent itself to their gradual evolution, including transitions [...]
The Hollywood Monsters – a music collective that includes Steph Honde, Vinny Appice and Ronnie Robson as the core, with an amazing collaborative of internationally known musicians with huge resumes – have released their third album entitled; “Thriving On Chaos” with a star studded selection of guest musicians: Glen Drover, Greg Godovitz, Tommy Denander, Danko [...]
For several years, singer Jan Willem Ketelaers has been pondering the meaning of life—and what comes afterward. It’s not like he’s had a lot of time on his hands. Last year, he wrote the lyrics for and sang lead on Knight Area’s WWII epic concept album “D-Day.” But there’s much more in Jan Willem‘s musical [...]
Greek melodic power metal masters FIREWIND, the group led by guitar wizard and ex-OZZY OSBOURNE band member Gus G., will release their newest album, simply titled “Firewind” on May 15th, 2020 via AFM Records. Each time Firewind released an album over the last 20 years, it wasn’t just the brilliancy of Gus G that fans [...]
In a perfect world, Cirith Ungol should have been prominently featured in every half respectable metal publication, as much as other pioneers like Black Sabbath or Iron Maiden. Formed in 1971 in Ventura, California, they first appeared on the scene with their self-financed debut album, “Frost and Fire”, via their own Liquid Flame Records imprint [...]
Mainstays in the death metal scene for almost three decades, Vader have embodied the spirit of old school in each release since their 1992 debut album “The Ultimate Incantation.” On May 1st, Vader will release their latest full-length album titled “Solitude in Madness,” following close on the heels of their 2019 EP “Thy Messenger.” Crafted [...]
You may not know exactly who Michael Alago is, but if you’re a metal-head, you have a lot to thank him for. Working as an A&R for Elektra Records in the 80’s and Geffen Records in the 90’s he worked with bands like Metallica, Flotsam & Jetsam, Misfits, PIL, White Zombie and many more. The [...]
Tunisian metal band and pioneer of blazing desert metal Myrath had a really huge year in 2019. The quintet wowed international audiences with their magical stage performances at the renowned Sweden Rock Festival and at Germany’s Wacken Open Air. Furthermore, the band released their brand new studio album “Shehili” — a beautiful collection of powerful [...]
Another step in their continuing evolution, The Black Dahlia Murder return with more sonic diversity and emotionally-driven songwriting than ever in their upcoming album “Verminous.” Longtime mainstays in the death metal scene, The Black Dahlia Murder have never stopped striving for forward motion in their creative scope, and “Verminous” is no exception. Growing in confidence [...]
The time is now again for Testament to unleash new thunder to the masses, as the band has revealed their thirteenth studio album “Titans Of Creation” last Friday. With an even better mix than before, the bass is prominently showcased, new vocals are introduced, and as expected, the guitar-work of Eric Peterson and Alex Skolnick [...]
Having risen to fame in what is now regarded as the “classic” Symphony X lineup, Mike Lepond has surely kept himself busy in recent times. Aside from commanding the grooves on Symphony X, he decided to put his metal influences to good use on Mike Lepond’s Silent Assassins and Ross the Boss Band. More recently, [...]
Flattening the curve is a strange concept for Clutch, the Maryland rockers who continue to experience an exponential growth in their loyal fan-base. If you dig songs that have “groove,” with a mix of bluesy hard rock and funky riffs, and an oozing touch of hardcore, you are missing out f you are not already [...]
WOLFHEART, the solo project of Tuomas Saukkonen, has done it again. Their brand of Finnish melodic doom death, or as they like to call it, “winter metal”, has gained another worthy installment of their victorious saga, in the shape of their new album “Wolves of Karelia”. With a new member in tow (Vagelis Karzis on [...]
Tesla will be releasing their new live album “Five Man London Jam”, on March 27, 2020, via UMe. The album was recorded and filmed in 4K high-definition at Abbey Road Studios in London as a homage to their critically acclaimed and highly influential Top 20 platinum album “Five Man Acoustical Jam”. It was a one-night [...]
On April 10th, world renowned guitar innovator and virtuoso, Joe Satriani, will be releasing his latest studio album, “Shapeshifting” via Sony Music/Legacy Recordings. Joe comes alive as he cranks up the energy level and diversity throughout the record from the melodic rocker of “Big Distortion,” to the heartfelt sorrowfulness of “Teardrops” to the playful loftiness [...]
Back in the mid-1970s, a Prog group came out of Harrisonburg, Virginia of all places. It was not a YES or Genesis or ELP knockoff. It had its own very unique sound, one that blended free-form jazz along with classical and some other sounds that were hard to pigeon-hole. The band was Happy the Man [...]
Kansas City’s newest metal heroes Hyborian are a young band, formed in 2015. Combining the octane-coated stoner metal of High on Fire, the progressive thunder of early Baroness and Mastodon and Bay Area thrash metal influences, they released their first full-length, “Volume I” in 2017, to critics and fans’ delight. In 2020 the band took [...]
Leprous and Rendezvous Point drummer Baard Kolstad was interviewed by contributor Niko Savic before the Leprous show in Istanbul on February 13th. During the interview Baard also talks about the expectations fans usually have from bands in terms of the sound and musical direction, Leprous’ 20th anniversary next year, the current Rendezvous Point tour with [...]
When it comes to 80’s guitar playing, the first obvious names that come to mind are shredders like Yngwie, Eddie Van Halen, Steve Vai and Joe Satriani. One unsung hero of that era, however, is Ross the Boss. Coming straight out of the Bronx, New York, as a member of The Dictators and Manowar he [...]
Virgil Donati belongs in a different class of musicians: his determination to improve himself and challenge past concepts is second to none, and his prowess on the instrument is envied by many. More importantly, he was able to find his own identity, and come up with an instantly recognizable style. Through the years, Virgil was [...]
The all-female Swiss heavy metal band Burning Witches is preparing to release their third studio album titled “Dance With the Devil” on March 6th. With new vocalist Laura in tow, the album promises to bring the strength and power of 80’s metal with more flair than ever before. Pulling from legendary influences such as Iron [...]
In late 2019, progressive metal band The Night Watch released their third full-length album, a stunning instrumental masterpiece titled “An Embarrassment of Riches. Weaving together classical guitar, violin, and breathtaking cinematic effects,The Night Watch managed to create an immersive experience like no other in a conceptual adventure following a shipwrecked explorer. Though they already had [...]
With over 40 years of Pendragon under his belt, Nick Barrett has guided the band as its principle songwriter, guitarist and vocalist. Often considered part of progressive rock’s second wave that built a following through the 80s along with the likes of Marillion, IQ and many others, Pendragon’s star began rising in earnest in the [...]
From his work as a guest vocalist in projects such as the metal opera Avantasia, to heading bands such as Masterplan, to running a band under his own name, there are few vocal powerhouses that stay as busy as Jorn Lande. After spending months on the road with Avantasia for the “Moonglow” world tour, Jorn [...]
Sometimes the most unusual combinations produce the best results – in colors, in cooking ingredients, and why not, in musical partners. Evidence of that can be heard on the new collaboration between Anette Olzon (ex-Nightwish, The Dark Element) and Russel Allen (Symphony X, Adrenaline Mob, TransSiberian Orchestra). Entitled “Worlds Apart”, the album showcases their powerful [...]
Comedian, actor, and writer Brian Posehn who had a recurring role on the Emmy-winning TV series, The Big Bang Theory, has just released his new comedy/metal album, “Grandpa Metal”, on February 14, 2020, via Megaforce Records. The foundation of the album stems from Brian’s love of comedy and metal. With the help of guitarist, Scott [...]
Vocalist Robin McAuley (McAuley Schenker Group / Riding the Rock Vault / Michael Schenker Fest), guitarist Reb Beach (Winger, Whitesnake), bassist Jeff Pilson (Foreigner, The End Machine, ex-Dokken), and drummer Matt Starr (Ace Frehley, Mr. Big) have joined forces in BLACK SWAN, a new band project signed to Frontiers Music SLR. Their debut album, “Shake the [...]
About a year and a half ago, Sonic Perspectives contributor Mark Boardman messaged Martin Schnella. He’s a wonderful guitarist and singer and songwriter. And with his partner, the great vocalist Melanie Mau, in recent years they’ve produced some beautiful acoustic music… including some amazing covers of bands you’ve heard of. Boardman asked Martin if he [...]
Few bands have been as enigmatic as Psychotic Waltz. A casualty of the grunge/ alternative era, Psychotic Waltz were perfecting progressive metal at the same time that most of the Magna Carta roster was too busy aping a certain New York quintet to do anything, you know, progressive. Sadly, the group imploded during the Dark [...]
Guitarist, singer, and songwriter, Richie Kotzen has just released his 22nd solo CD entitled, “50 for 50” on February 3rd via Headroom-Inc. It’s a three-disc collection of 50 never before heard songs with some dating back as far as two decades. What started as a 14 track CD release, blossomed into a career-spanning collection of [...]
AEGIS –-ˈē-jəs. A shield or breastplate emblematic of majesty that was associated with Zeus and Athena. Also – protection. About eight years ago, the folks at Ulterium Records had a suggestion for one of their artists. Matt Smith, they said, why don’t you put out a song for charity—with all proceeds going to some worthy cause? [...]
New storytellers have joined the ever-expanding ranks of Frontiers Music srl, but this metal quartet brings music of a much heavier variety than the label’s usual offerings. Drawing on the cinematic grandeur of symphonic metal, while hardening their bite with tastes of melodic death and blackened atmospheres, Seven Spires are dazzling stars that transcend the [...]
One of the longest-standing names in thrash, Annihilator continues their relentless pursuit of all things hard and heavy with more than thirty years and sixteen full-length albums to their name. Driving force of the band, taking on the roles of vocals, bass, guitar, and production throughout its history is frontman Jeff Waters. As though their [...]
One of the pioneers of American heavy and progressive metal, Queensrÿche have been riding the waves of resurgence ever since they teamed up powerhouse vocalist Todd La Torre. The band’s first two efforts with La Torre at the mic – 2013’s “Queensrÿche” and 2015’s “Condition Hüman” – received praise for feeling reinvigorated and reminiscent of [...]
Last November ex-Black Veil Brides bassist Ashley Purdy released a new song called “Nowhere” to his legions of fans, a song layered with haunting melodies and thought-provoking lyrics that touch upon his personal experiences and struggles in coping with loss. A “coming to terms” song which everyone in life must deal with at some point [...]
It goes without saying that the global metal scene would not be the same without SEPULTURA. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album [...]
Few artists are as busy as drummer Mike Portnoy in the music industry today. A proud “member of 83 bands” – a fictional number which might just as well be true eventually – this year he has toured with Metal Allegiance, The Neal Morse Band, The Winery Dogs and Flying Colors, and did a tour [...]
Not many metal acts can look back at as comprehensive, multi-faceted and varied a career as Rage. Founded in spring 1983 in Germany, the band surrounding vocalist/bassist Peavy Wagner has integrated a wide range of stylistic nuances into its musical concept. There have been releases which focused primarily on hard thrash sounds, but also recordings [...]
Hugh Syme is a graphic artist whose name has been indelibly linked to Rush since he did his first work for the band, the cover of “Caress of Steel”. He is responsible for ALL but the first 2 of Rush‘s album cover artwork. He also created Rush‘s famous StarMan logo, though he never imagined the [...]
On November 22, doom metal wizards AVATARIUM released their heavy and emotionally dense new album “The Fire I Long For”. The new effort sees them return to their epic doom roots whilst paying their respects to rock legends like RAINBOW, LED ZEPPELIN and THE DOORS. Born from epic doom laden mastermind known as Leif Edling [...]
Molly Hatchet, the unstoppable ambassadors of Southern Rock, are back again with a new live offering, entitled “Battleground”. Their last album of original material might be too far back in the rear-view mirror now, but their relentless touring schedule proves that they’re still a force to be reckoned with. The musicians surrounding guitarist Bobby Ingram [...]
After four or five years of discussions about a possible collaboration with Frontiers Records, renowned German producer, guitarist, and songwriter Sascha Paeth agreed to join forces with the Italian label and launch his new band, Masters Of Ceremony. The resulting and recently released album “Signs of Wings” (you can check our review of the album [...]
Bruce Soord started The Pineapple Thief twenty years ago, but almost feels like they have become a new band in the best sense of the word. The group has been reinvigorated by drummer extraordinaire Gavin Harrison joining the band as a full-time member, who also collaborates with Bruce on their new material. This has brought [...]
Drawing influences from the origins of metal as much as from alternative rock, Prong has always been a difficult band to categorize. They rose to fame in the mid 90’s when songs like “Snap Your Fingers, Snap Your Neck” and “Beg to Differ” got a lot of rotation on MTV. Refusing to be pigeonholed, their [...]
November 1st represented a new chapter in Voyager‘s already extensive career: their seventh full length, “Colours in the Sun”, was unveiled, bringing all the classic elements that their fans learned to love. Catchy choruses, crushing riffs, tasty keyboard lines and an expansive sound, which is heavy and yet captivating. Having played ProgPower US and ProgPower [...]
Like it or not (and I kinda don’t), there’s been an upswing in 80s nostalgia going for a few years now. I personally suspect that two bands will remain when the dust settles after this resurgence: The Night Flight Orchestra, and a raucous little collective called Iron Kingdom. Hailing from British Columbia, childhood friends Chris [...]
Certain artists simply transpire versatility, and refuse to be pigeonholed in a single style. That’s the case with guitarist Ron “Bumblefoot” Thal, whose career has taken a million twists and turns since he decided to play an instrument, after listening to “Kiss Alive!” at the age of six. Having toured the world with Guns N’ [...]
In March 2019 ECLIPSE main songwriter Erik Martensson was voted one of the top 10 songwriters in the world by renowned Japanese metal magazine BURRN! In the years following the release of the 2012 album “Bleed & Scream”, ECLIPSE has become one of Sweden’s most prolific heavy rock bands. Together with guitar virtuoso Magnus Henriksson, [...]
Never a band to rest on their laurels, Blind Guardian have always moved forward and changed their sound from time to time. From their speed metal beginnings, to absorbing thrash influences in subsequent releases, and finally establishing themselves as power metal ambassadors, there was always something new with every release. For epic performances at Wacken [...]
With four full-length albums and a notable guest appearance under her belt, Canadian singer Leah has been making waves lately with her distinctive other-worldly take on Celtic-inspired folk metal. Fresh off last year’s collaboration with Testament‘s Eric Peterson on the third Dragonlord album as well as her own album “The Quest,” the Vancouver-based siren quickly [...]
Hard rock purveyors HellYeah released their sixth studio album “Welcome Home” on September 27th via Eleven Seven Music (you can read our review of the album here). It’s been almost 12 years since the release of their first album “HellYeah”, and just over one year since the passing of bandmate and brother Vinnie Paul. “Welcome Home” [...]
Very few people in metal today embody the term “persistence” as much as Frankie Banali. Having formed Quiet Riot in the 80’s and reached the top of the charts in 1983, going above Michael Jackson‘s “Thriller” and The Police‘s “Synchronicity”, Frankie surely had his share of hardships since then. He faced a million lineup changes [...]
Airbourne is releasing their fifth studio album “Boneshaker” today on October 25thvia Spinefarm Records. Hailing from Warrnambool, a small drinking town on the southwestern coast of Victoria, Australia; Joel O’Keeffe [vocals/lead guitar], Matthew Harrison [guitar], Justin Street [bass]and Ryan O’Keeffe [drums]have steadily gained an immense following with their explosive live shows and main stage festival [...]
Changes in musical direction have always been a part of what Leprous are about. On the new album “Pitfalls” set for release on October 25th (check out our comprehensive review here), the Norwegians are taking it to new territories, with quite a departure from their previous effort, 2017’s “Malina”. Written during a time when front-man [...]
Most music fans got to know Derek Sherinian when he joined Dream Theater. However, he already had a rich history in music when these American prog metal giants brought him in, having toured with Alice Cooper, Kiss and Jimi Hendrix‘ drummer Buddy Miles. Known for his distinctively heavy keyboard sound, Derek soon embarked on a [...]
In a time when bands are resorting a lot more to touring than releasing studio albums, one thing is for sure in the music business: every three years we’ll have a new Alter Bridge album available for fans. 20119 could not be different, and sees the band’s sixth offering, entitled “Walk the Sky”, hitting the [...]
One of rock’s premier bass players, Dave LaRue has become known most prominently through his memberships in The Steve Morse Band and Dixie Dregs. He also he has played with the upper echelon of virtuosic guitarists such as Joe Satriani, John Petrucci, Vinnie Moore, Pat Travers, Steve Lukather, Mike Stern, Eric Johnson, Andy Timmons, Albert [...]
Although he is credited with helping to initiate prog’s resurgence in the 90’s with his band The Flower Kings, Roine Stolt first made his mark in the mid-70s by joining Kaipa as a teenager. His vast wealth of experience has come full circle this past decade as he has recorded and toured with some of [...]
There is hardly a more pivotal figure for the development of the thrash metal scene than Jon Zazula. The owner of the Rock and Roll Heaven record store, he started booking bands like Raven, Anvil and Venom, and his life changed after a demo tape of a band called Metallica fell on his hands. Initially [...]
In late 2018, Anneke Van Giersbergen released “Symphonized”, an 11-track live album which registered two career-spanning concerts alongside the Residentie Orkest The Hague. The album comprised solo tracks as well as compositions from Vuur, The Gentle Storm and The Gathering reimagined with the orchestra. Now on the 27th year of a prolific career, Anneke is [...]