Sharon Osbourne has told Metal Hammer magazine that she is open to the possibility of a BLACK SABBATH avatar-style show.

Asked if she would consider the idea of taking inspiration from the technology originally developed for ABBA's "Voyage" show in London for a SABBATH virtual project in the future, Ozzy Osbourne's wife and manager said: "Sure I would, yeah.

"Technology keeps moving on and on," she explained. "You can do incredible things now, so what you could do in five years will be even better.

"You never know what the opportunities are," she added.

One legendary rock band which is already in the process of developing an avatar show is KISS. The KISS avatars were created by Industrial Light & Magic (ILM) and were financed and produced by the Swedish company Pophouse Entertainment, which is behind "ABBA Voyage".

Using cutting-edge technology, Pophouse Entertainment Group, which was founded by ABBA's Björn Ulvaeus, will create digital versions of KISS. The project was previewed at the final KISS concert in New York in December 2023.

Last December, KISS bassist/vocalist Gene Simmons told "The Zak Kuhn Show" podcast that the technology originally developed for ABBA's "Voyage" "is now yesterday's news." Asked if the KISS avatar show will "totally blow away" "ABBA Voyage", Simmons said: "It already does, yeah. Uh-huh… Technology, I'm sure you keep up with it, is growing by leaps and bounds… The future is here. A.I. now fixes itself and teaches itself. And so the technology has advanced by leaps and bounds even where the ABBA show was. You could swear ABBA was live on stage, but you have to look straight forward. If you look to the left or right, you can see your neighbor sitting behind you or next to you. And so you have that kind of, 'Oh, this is reality. And what's on stage looks like reality.' But as you know, with 3D glasses, virtual glasses, your sense of what's real and what's not is skewed. So there's all that."

Last October, KISS frontman Paul Stanley was also full of praise for "ABBA Voyage", which has been very lucrative since debuting in May 2022. He told "Steve-O's Wild Ride! Podcast": "Yeah, that lives in London, and that's sold out for four years now, I think — every night, eight shows a week," Stanley said. "And it's amazing because I've seen it twice and the audience is just thrilled and so much a part of it. It's not like, 'Oh, we're watching something that's not real.' It's real… I mean, you can see through the clothes. They move back and forth, they interact. It's unbelievable. And when I saw it the first time, at the end of the show, the curtain pulled back and [the] ABBA [members as they look] today, the four of them, came walking out. And I was, like, 'Wow, I'm here on this night to see [the four of them at the performance].' [But] it wasn't them. That's how good it is."

Regarding KISS's apparent willingness to fully embrace modern technology, Simmons told Rockast: "Well, everything evolves. We didn't always stand up on two legs. A few million years ago, we were on four legs. Everything evolves, and you either evolve or you become obsolete or you die. So technology is here. A.I. is here. Virtual reality is here. Everything is here. And we don't wanna be yesterday's news. So even the end of something can be the beginning of something. But we're very excited — and proud. I keep saying proud, because that's what it is."

In a separate interview with TMZ, Simmons was asked if fans will embrace the concept of a concert that is A.I.-driven and consists of nothing but holograms. Gene responded: "It's not just, 'Okay, they're gonna show up on stage just like they did before, but it's holograms. No. That's an archaic term. Technology has advanced so far, you won't believe it.

"We spent some time at George Lucas's place and did motion capture stuff secretly," he continued. "We didn't talk to anybody — media or anything — about it, because we wanted this to be like nothing anybody's ever seen. And I will tell you, if you've seen the ABBA show in London, which is phenomenal, this is gonna be beyond anything you've ever seen.

"So the future is here, and with our friends at Pophouse, who are visionaries, we're gonna be doing things that no band and no musical — nobody's ever done before," Gene added. "Our events are going to be multi, I wanna say multidimensional. You just won't believe your eyes. Things are gonna be so much larger than life in front of you. You won't believe it. We've already seen the first fragments of that. It's just jaw-droppingly amazing."

Swedish/Canadian/American extreme metal titans ARCH ENEMY have released an official music video for the song "A Million Suns". The track is taken from the band's latest album, "Blood Dynasty", which arrived on March 28 via Century Media Records.

Last month, ARCH ENEMY founder and guitarist Michael Amott told Full Metal Jackie's nationally syndicated radio show that it would be "interesting" for him and his bandmates to perform "A Million Suns" live. "It's got a very new sort of atmosphere for us," he explained.

Amott previously stated about "Blood Dynasty": "This new album pushes the boundaries of what we've done before — it's everything you've come to expect from this band, and then some! We can't wait for you to hear it and feel the energy we've poured into every track. Welcome to the 'Blood Dynasty'!"

Eight months ago, Amott told Pulp Magazine about the first single from "Blood Dynasty", a song called "Dream Stealer", and ARCH ENEMY's plans for new music: "We've been staying busy for sure and are really focused on writing and recording new stuff in between the touring we're doing. I'm kind of always coming up with new musical and lyrical ideas though — I just keep going as it's what I enjoy doing anyway. Making music is a natural process, and it's pretty much a daily thing, so it can be hard to pinpoint exactly when everything was conceived. I do, however, actually remember that the initial seed for 'Dream Stealer' was written during a songwriting session I did with Daniel [Erlandsson, drums] in Los Angeles, California, two years ago, and then it's been rearranged and updated a lot till it reached its final state that you're now hearing."

Asked if it was a conscious decision to go back to the "classic ARCH ENEMY" direction and approach with "Dream Stealer", Amott said: "I've seen some seriously great feedback from the fans, and that's always very encouraging, of course. Personally, I don't know if I’d necessarily say 'Dream Stealer' is a throwback to the sound of the past, but I get what they mean — the song has the energy and speed that is very exciting and infectious. Maybe there is a hint of vintage ARCH ENEMY in there, and why not? I'm looking forward to playing it live on stage — I think it is going to be intense as hell."

ARCH ENEMY played its first concert with new guitarist Joey Concepcion on April 24, 2024 at Musinsa Garage in Seoul, South Korea. The show was part of ARCH ENEMY's 2024 Asian tour.

In December 2023, ARCH ENEMY announced that it had "amicably" parted ways with longtime guitarist Jeff Loomis.

Jeff, who was the main songwriter in his previous group, NEVERMORE, joined ARCH ENEMY in late 2014, but was not involved in the writing for the latter act's last two albums, 2017's "Will To Power" and 2022's "Deceivers".

Photo credit: Katja Kuhl

GODSMACK has confirmed the departure of the band's longtime drummer Shannon Larkin and guitarist Tony Rombola.

Earlier today, GODSMACK frontman Sully Erna released the following statement via social media: "To our dearest friends and fans, we send this message to all of you to share some bittersweet news with you regarding a significant change in our journey together.

"After almost 3 incredible decades, two of our most cherished members, Tony Rombola and Shannon Larkin have decided to retire from the band permanently, on good terms, but for no other reason than to fulfill their desire to live a more simple and quiet life away from touring.

"This decision was not made lightly. Tony and Shannon have been such a big part of our history, bringing their unique talents, creativity, and passion that have shaped our music and our message. Together, we have experienced countless, unforgettable moments and heartfelt interactions with fans like you around the world. We are immensely grateful for every memory we've created together.

"Their departure marks the end of an era, but it also opens the door for new and exciting possibilities. We want to assure you that Shannon and Tony will always be part of our family, and their contributions will forever echo in our music. We respect their decisions and support them wholeheartedly as they pursue their own individual paths.

"Robbie [Merrill, GODSMACK bassist] and I are also excited to explore new directions, and although we have not made any permanent decisions about who may replace Tony and Shannon, we will be continuing this journey together, and we look forward to sharing the decisions we make with all of you as they happen.

"In the meantime, some of you may have heard, drummer Will Hunt of EVANESCENCE, along with guitarist Sam Koltun of DOROTHY are filling in for Shannon and Tony as we honor and complete our current European dates.

"Thank you for your unwavering support over the years. We are grateful to have you by our side as we navigate this transition. Let's celebrate the memories we've made together while we all look forward to our future together.

"With love and respect, Sully, Robbie, Tony, Shannon".

GODSMACK kicked off its 2025 European tour on March 22 at Arena 8888 in Sofia, Bulgaria.

The day before the Sofia concert, Erna told Elena Rozberg of Bulgaria's Z-Rock radio station that "personal things" were preventing Tony and Shannon from taking part in the trek and explained that "a couple of guest musicians" were playing with GODSMACK while he and Merrill were " trying to figure out exactly what's happening".

In a since-deleted video shared on Facebook, Larkin addressed his absence from GODSMACK's ongoing tour, saying:  "Well, there's been lots of speculation about [why Tony and I are not on the road].

"First of all, I just wanna thank everybody for the outpouring of texts, all my family and friends. I'm okay. Tony's okay. But we did quit the band last year, after lots of talking to Sully and Robbie. And they understood that we didn't wanna tour anymore — that's the reason — and we understood that they wanted to tour. And so we understood each other. And in the end, GODSMACK's out there touring and we are happily here living our lives.

"Tony turned 60. I'm 58. Look, it's not a physical thing. We wanna be home with everything that we love.

"[It's been] 40 years — think of that; 40 years I've been touring. 28 years for Rombola. And we're getting a little older, so we decided to quit it. And that's it.

"But thanks. And we love you all, the fans and everything.

"This wasn't a bad thing, and I know it looks like it, but I will talk more about it in the future. But it's all love. We're brothers for life with Sully and Robbie, and we wish Will and Sam the best. And all the fans, keep going [to the shows]. They're kicking fucking ass.

"As Sully said at the very end, all good things must come to an end. So GODSMACK didn't come to an end — it's just a new chapter for them — and it's certainly a new chapter for Tony and I. And we're already making music, and everybody's happy. So be happy, people."

In the Z-Rock interview, Sully said about GODSMACK's current status: "I can tell you that there has definitely been some changes that have happened in the last few months. They are changes that we're not sure will be permanent or temporary, but everybody and everyone is in good health and in really good spirits. And the band is doing better than ever. We're [playing to] the biggest audiences ever, and the shows are just becoming more and more valuable, because, as we get older, we still appreciate coming to places like Sofia that is so far away from where we started and being able to come here and sell out a 13,000-seat arena.

"All I can tell you right now is that the band is in good health, we're in good spirits, but there's gonna be a little bit of a different visual for everybody. Tony and Shannon have some personal things going on, and they're not with us. So we have a couple of guest musicians playing with us that are phenomenal."

Asked to elaborate on the reason for Shannon and Tony's absences from the trek, Sully said: "Hmmmm… I don't know. I don't know. I don't know if I feel safe enough talking about that yet, because I don't wanna give people the wrong impression. Right now we're still at a stage where we're trying to figure out exactly what's happening, but we're also trying to respect their privacy. So whatever Tony and Shannon have going on in their personal life, we're just trying to respect that and at the same time still come here and put on a really great show. I can tell you right now that we have a guest drummer playing with us, who's Will from EVANESCENCE. And he is such a good friend of ours and such a great musician, and we've been having so much fun with him. So that's been a real surprise. And then we have a guitar player with us named Sam Koltun, who is somebody who — he's played with several different bands and a really, really nice guy and great guitar player. So as far as the music goes and the sound, it sounds exactly like we've always sounded, which is even surprising to me."

Larkin joined GODSMACK in 2002 after cutting his teeth with WRATHCHILD (later WRATCHILD AMERICA and SOULS AT ZERO) before getting picked up by UGLY KID JOE in time for a taste of their zenith.

Tony had been the lead guitarist and backing vocalist for GODSMACK since the mid-1990s following the departure of Lee Richards.

GODSMACK's spring 2025 European tour features support from P.O.D. and DROWNING POOL.

The 14-date trek will end on April 12 in Oberhausen, Germany.

GODSMACK's latest album, "Lighting Up The Sky", was released in February 2023 via BMG. The LP was co-produced by Erna and Andrew "Mudrock" Murdock (AVENGED SEVENFOLD, ALICE COOPER).

The first single from "Lighting Up The Sky", "Surrender", which arrived in September 2022, marked the first release from GODSMACK in four years, following their globally acclaimed and gold-certified 2018 album "When Legends Rise", which earned the Erna-fronted outfit a No. 1 spot across U.S. Hard Rock, Rock, and Alternative album charts.

Press photo by Chris Bradshaw

Posted by Godsmack on Wednesday, April 2, 2025

In a new interview with John Beaudin of RockHistoryMusic.com, former MEGADETH guitarist Marty Friedman spoke about the relationship he has with some of his longtime fans. He said (as transcribed by BLABBERMOUTH.NET):  "My fans, they put up with a lot of stuff because you never know what they found me from, you never know what they like me from. And I've pretty much a hundred percent only done exactly what I wanna do, so I never really kind of pandered to what I thought the fans would like. I knew that anything that I do is gonna delight some people and maybe some people are gonna say, 'Well, it's not for me.' But I'm fine with that. That's the expense of having the luxury of doing exactly what I want. And I think that's what's kept me happy to play music for all these years, because when you hear an album or when you see us live, that's when you know it's exactly what I wanna do. I'm not trying to get on any trend or try to do market research — 'What are they listening to?' — or any of that. It's just the real thing, and I think my super, super fans can follow the thread between all of those things, 'cause my musicality is the same no matter what I'm doing. So, I am so blessed and honored to have fans that followed me through all that stuff."

Marty continued: "When we do these VIP experience things [at my concerts], [my fans] bring so many wonderful things of my career that I'm just so glad that they followed me through all this stuff. It's like someone coming to your house and looking through your drawers and saying, 'Oh, yeah, I remember that jean jacket. That's cool, dude.' It's very personal — my music is personal — and it's just wonderful that people join the party at all. So, yeah, I'm very happy to have the fans around."

Friedman kicked off his "Live Drama 2025" U.S. tour on January 25 at Count's Vamp'd in Las Vegas, Nevada.

Friedman's latest solo album, "Drama", came out last May via Frontiers Music Srl.

Recorded in Italy, "Drama" showcases Marty's unique touch, for the first time using both vintage and modern guitars, delivering a pure delight for lovers of music everywhere. From the captivating first single "Illumination", to the album's breathtaking "Mirage" and 10 other emotionally charged mini-symphonies, Marty paints atmospheric elements with a modern and exotic flair, promising an unforgettable musical experience.

Marty's presence in the world of music, the world of guitar and Japanese pop culture is mystifying, bizarre, and nothing short of inspiring. His first major impact in music was in the game-changing guitar duo CACOPHONY, which he founded with equally enigmatic and now-legendary guitarist Jason Becker. He then spent 10 years as lead guitarist in the genre-defining thrash metal act MEGADETH before moving to Tokyo due to his love for Japanese music, language, and culture.

Following his move, he landed a starring role for a new TV comedy "Hebimeta-san" ("Mr. Heavy Metal") and its spinoff, "Rock Fujiyama", which ran for six seasons and propelled him into the living rooms of Japan's mainstream. He has since appeared in over 800 TV shows, movies and commercials, including a two-year campaign with Coca-Cola for Fanta, authored two best-selling novels and was the first-ever foreigner to be appointed as an ambassador of Japan heritage and perform at the opening ceremony for the Tokyo Marathon.

At the same time, Marty has continued his career in music with several solo albums in addition to writing and performing with the top artists in Japanese music, racking up countless chart hits, including a No. 1 with SMAP, two No. 2 songs with MOMOIRO CLOVER, a No. 2 with SOUND HORIZON — just to name a few.

Friedman's autobiography, "Dreaming Japanese", arrived on December 3, 2024 via Permuted Press.

SEVENDUST guitarist Clint Lowery, whose band is playing the final concert of its "In Dust We Trust" North American tour tonight (Saturday, March 29) in Springfield, Missouri, took to his social media to share a photo of several of his Christian inspirational bracelets, and he included the following message: "Last day of the tour. There's so much I could say and probably will do another post to give some more details of the journey. For now I'll say…I've never done a tour as a saved Christian.

"I am still building my relationship with Christ. I'm still a sinner, flawed and broken. BUT…..I've been able to see the world through a biblical lense. My band of brothers, our crew, the people who have come to the shows.

"It's been the most profound and spiritual tour I've done in my career. Free of resentments, free of judgement of others, less me and more them. Less self will and more of God's will.

"I've stared at these [bracelets] every day multiple times a day. Reminders when I sink into the darkness of my thoughts and fears.

"I'm so thankful to be alive today, to be faithful to my creator.

"Waiting for my family to arrive for our last show of this unbelievable tour I did not know I would be able to do but God made the way. I know he did.

"I never want to boast, or stand on a soapbox, I'm simply stating what has helped me keep moving forward in a better direction. So much respect for my band mates, crew and management. We did some good boys.

"Glory to God."

Lowery became sober nearly 18 years ago after being arrested at the Hodokvas festival in Piestany, Slovakia following what was described as a "wild drunken night" that resulted in the musician trashing his room. At the time, Lowery was on tour with KORN as the latter band's backing/session guitarist. A day following Lowery's arrest, he was released from police custody after apologizing and paying for the damages. He later released a statement explaining that he was "being a lil' rowdy and loud" in his hotel and acknowledging that he "pulled some Rock 101 stuff." He added that he was "not proud of it at all" and claimed that the entire episode was "scary enough" to where he knew he would never be doing anything like that "ever again."

When Clint celebrated the 17th year of his getting sober last October, he took to his social media to write: "Quick story….When I got sober, the first week was a blur to say the least. I entered a treatment center a few days after getting fired from my hired gun role in KORN. One of the many bottoms I hit that were sufficient enough to be willing to get sober and stay sober a day at a time. I was in a holding pattern for a few days waiting to get accepted into the treatment center and those days were foggy.

"I've always had a sobriety date of October 24th. But doing a true gut check and trying hard to remember the true date (which has always bugged me),this being an honest deal, I have to say my true sobriety date is October 27th, 2007 and God willing…I'll make it to tomorrow without a drink or drug.

"For years I've wrestled with that. Sounds like no big deal, right? Well, for me, those lil untruths are not good…at all. For me and especially for God. So only a few days different I'm even more grateful entering another year with that adjustment in the name of truth to self and a God I need to repent to.

"This year has undoubtedly been the hardest in my sobriety dealing with life on life's terms…but the true miracle is I haven't thought of taking a drink. That's a God thing…not a me thing. So before you have any atta boys I give credit to him. I post this also for the alcoholic out there trying to get sober. It can happen for you if it happened for me trust me

"I recently gave my life to Jesus Christ and that has brought me true comfort through the tough times. For me. I'm not here to tell anyone how to live their life and I was certainly one of the people who didn't like that pushed on me, I just encourage people to open their minds and hearts to him. It helped an old country dude find peace in true chaos and uncertainty."

SEVENDUST and THREE DAYS GRACE recently completed a North American tour as the support acts for DISTURBED on the latter act's "The Sickness 25th Anniversary Tour".

SEVENDUST is continuing to tour in support of its latest album, "Truth Killer", which was released in July 2023 via SEVENDUST's new label home, Napalm Records.

The follow-up to 2020's "Blood & Stone", "Truth Killer" was once again tracked at Studio Barbarosa in Gotha, Florida with producer Michael "Elvis" Baskette, who has previously worked with ALTER BRIDGE and SLASH, among others.

"Truth Killer" showcased the original and current SEVENDUST lineup, comprised of singer Lajon Witherspoon, guitarists Lowery and John Connolly, bassist Vince Hornsby and drummer Morgan Rose.

Last fall, SEVENDUST celebrated the 21st anniversary of its iconic album "Seasons" on a U.S. tour. "Seasons" is the fourth album from the band's catalog and exploded on to the metal world when it was released in October 2003. The album spawned a Top 10 Rock single with "Enemy" and the album closer "Face To Face" is a show staple and fan favorite of SEVENDUST to this day.

"Seasons" was, for a time, the band's last album with Lowery as he left in 2004. Lowery returned to SEVENDUST in March 2008 and has remained with the group ever since.

Last day of the tour. There's so much I could say and probably will do another post to give some more details of the...

Posted by Clint Lowery on Saturday, March 29, 2025

In an interview with Skratch N' Sniff and SNSMix.com, HOLLYWOOD UNDEAD co-founder Johnny 3 Tears revealed that he and his bandmates have no plans to release a new full-length album anytime soon. He explained (as transcribed by BLABBERMOUTH.NET): "We've got new songs coming out real shortly, within the next couple of months. As far as like a new 'record record', I don't know. I don't think we're even planning on [it]. Well, at least as of now, I think those days are numbered, as far as putting out, like, 'Hey, here's an album with 15 songs on it.' I mean, at some point that will happen. But as of now we're just kind of just releasing songs.

"We have a bunch of songs lined up — we're gonna release songs," he clarified. "At one point we'll probably package them with some other songs and put out a record for those who want 'em. But dude, cars don't even have fucking CD players in 'em anymore. What are we gonna release a record for? No one buys 'em. Except for people who like vinyl. And now, it's funny 'cause outside of the artwork, there's almost no incentive to make an album anymore. So we'll see what happens. But as of now, we're just gonna release songs and videos and all the other stuff, and eventually maybe package it into a record for people who want physical product or tangible product. But yeah, as far as releasing an actual album, I have no idea. I don't even know if anybody's gonna do that anymore."

When the interviewer noted that bands put out records, only for people to have forgotten about them within 10 days, Johnny 3 Tears said: "In the streaming era, it's a bummer. I used to love buying an album and you read the liner notes and the thank yous. It was like an event. But then again, I didn't have access to the back catalog of the world either. So it was, like, I spent 20 bucks. I'm gonna go through this and listen to every word and da, da, da, da. Now it's, like, dude, you're lucky if people listen to the first 30 seconds of every song on your album. And no one wants the physical product. So it's been negated by the streaming world. And if you don't adapt to that, it really is just kind of wasteful. And then the back half of your record no one listens to anyway, so you're getting bummed out 'cause you might have some really good stuff that you care about, and now you're, like, 'Well, no one's listening to those songs.'

"It's funny 'cause the hip-hop world's been doing this mix tape stuff for forever — two, three songs here, two, three songs there, a lot of collabing," he continued. "Rock is just now catching up to that. 'Hey, let's call up ICE NINE KILLS and do a song together.' 'Let's do some stuff with PAPA ROACH.' 'Oh, let's do something with ATREYU,' whatever. Hip-hop's been doing this forever, and now rock is coming around to the same avenue because now it makes more sense 'cause, yeah, people don't wanna buy albums and they've realized, Hey, you know what? Not every song has to be this massive event. You can just take something, like, 'Hey, let's record a song today and put it out next week.' Why not? If people don't like it, it's just sitting there, like, what's the big deal? Do you know what I mean? Not everything is living forever on some album now.

"It's a different world, dude," Johnny 3 Tears added. "Honestly, it's hard to adapt to. I can't stand the whole TikTok, 'Hey, you've gotta have snippets. You need these 15-second videos.' It's not my world. I'm just living in it. But as far as music goes, I love it, because I write music all of the time — every day, that's pretty much what we all do. And it sucks 'cause you write music all day every day, and you get every two years you've gotta put up 14 songs out of the hundreds you've worked on. So that's always been very, like, 'Eh, that that part kind of stinks.' So now we just write songs, we send them in and they'll be, like, 'Yeah, let's put it out in a couple weeks. What the hell?' That's a lot more fun. There's not so much weight on it: 'Oh, how did it do? Did it sell a gazillion copies?' It's more like it goes away with the next song that you put out. So there's less pressure on the song. We get to put out whatever we want, whenever we want. It's kind of cool — artistically speaking. But everything has its wins and losses."

He concluded: "It's a different world, dude. We're just living in it, bro."

After the interviewer pointed out that the old way of making records, with bands sometimes having to wait up to a year after an album has been completed for it to come out, Johnny 3 Tears concurred. "You are sitting there and then by the time you are putting it out, you wanna change stuff," he said. "You're, like, "This doesn't sound right now.' It's just a mind game. You do nine mixes, because you have too much time to think and you start making it worse because you have a vacuum in your head now. To me, it's just not conducive to creativity. And when you're making music and you know this probably isn't even gonna come out, you'll do it 'cause you like doing it but there's also this kind of ambivalence to the whole thing. It's, like, what's the point? And so I would way rather just be able to write a song and if we like it, put it out. If people don't like it, okay — I don't care. I'd rather people like it, but if they don't, it's not like I'm gonna go walk off a bridge or something. So it's, like, you let people listen to it. If they like it, they like it. If they don't, they don't. It's music. It's meant to be fluid. And I get it — for a record label, they needed those 14 songs to be perfect 'cause it was propped up on a 10-million-dollar campaign of promotion. They can't afford for it not to succeed, and I understand that. But that's not the case anymore. So, like, well, dude, let's rock and roll."

Last October HOLLYWOOD UNDEAD released a new single, "Hollywood Forever". The track, accompanied by an official music video, marked the band's first release under a newly inked deal with globally renowned independent label Sumerian Records.

HOLLYWOOD UNDEAD has surpassed three billion cross-platform streams and over one billion YouTube views, cementing its status as one of the most streamed rock bands of its generation, with an ever-evolving sound that continues to resonate with a global audience.

Since the release of HOLLYWOOD UNDEAD's RIAA platinum-certified 2008 debut album, "Swan Songs", their distinctive and infectious music has incited a cult audience of millions of fans, resulting in sold-out shows across the globe, in addition to receiving nods in the press from the likes of Consequence Of Sound, Billboard, Alternative Press, Rolling Stone and Revolver. The quintet have also garnered massive mainstream appeal, with their 2011 sophomore record, "American Tragedy", going gold and hitting No. 4 on the Billboard 200 chart.

HOLLYWOOD UNDEAD's latest album — the band's eighth — "Hotel Kalifornia", arrived in 2022 via Dove & Grenade Media/BMG.

Photo credit: Travis Shinn

Tim Cronin, founding member of stoner rock pioneers MONSTER MAGNET, has been diagnosed with ALS (Amyotrophic Lateral Sclerosis),a progressive and incurable neurodegenerative disease that causes muscle weakness, paralysis, and eventual respiratory system failure.

While there is no cure, there are care options and accommodations that can have a profound impact on Tim's quality of life. Unfortunately, they are significantly expensive. ALS has been called "the bankruptcy disease" due to the significant and ever-increasing financial burden it places on families.

Cronin's family is asking for fans' support to help ease the cost of this cruel and unfeeling disease and give Tim the comfort and dignity that he deserves.

So far over $55,000 has been raised towards the goal of $75,000 on a GoFundMe campaign which was launched over the weekend.

You donations will go directly towards:

* In-home assistance
* Wheelchair ramp
* Mobility aids
* Medical treatments and therapies
* Assistive devices
* Transportation to doctors appointments

Cronin helped shape MONSTER MAGNET's early sound with contributions on vocals, bass, and drums after the band's formation in 1989. Outside the studio, Cronin has spent over three decades at the helm of Jack's Music Shoppe, a beloved independent record store in Red Bank, New Jersey.

In recent years, MONSTER MAGNET has gone through a number of lineup changes, leaving Dave Wyndorf (vocals and guitar) as the only constant member.

MONSTER MAGNET has released eleven studio albums to date, including the band's latest, a covers album titled "A Better Dystopia", which came out in 2021. They are best known for their 1990s hits "Negasonic Teenage Warhead" and "Space Lord".

MONSTER MAGNET has been credited for developing and popularizing the stoner rock genre, along with MASTERS OF REALITY, KYUSS, FU MANCHU and SLEEP.

Wormholedeath is proud to announce the signing of Italian gothic rock/hard goth revolutionaries, Blax, for their sophomore album, Certesia, slated for release on April 25.

A storm of shadow and steel, Blax merges brooding gothic atmospheres with industrial grit, alternative edge, and the unapologetic fury of hard rock/metal, crafting a sound that defies genre walls while paying homage to the dark romanticism of ’80s icons.

Following their 2022 debut Meravilia – a cult favorite that carved their name into the underground – Certesia marks a journey inward. The album explores a metaphorical “village” of personal certainties, with each track dissecting introspective facets of identity.

“This isn’t just music—it’s a pilgrimage,” says the band. “Certesia is where we confront our shadows and embrace the chaos of self-discovery. It’s raw, theatrical, and unflinchingly honest.”

Get a glimpse of Certesia now with the music video for “Mr Graceful”, a taste of what’s to come. Watch the clip below.

Blax’s artistry extends beyond sound. Their striking visual identity embodies a “goth family” ethos, blending vampiric elegance with punk rebellion. This aesthetic depth amplifies their live shows, where haunting melodies collide with primal energy – a spectacle that has electrified stages at Masters Of Rock (CZ), Rock Castle (SK), and festivals across Europe.

Born in March 2020 as the solo vision of vocalist Giampaolo Polidoro (Blax) and guitarist Marco Fanella (Hektor), Blax evolved into a formidable quintet with Emil Dellantonio (Hexen) on guitar, Carlo Notarfonso (Xavier) on bass, and Luca Urbinati (Anon) on drums. After signing with AlphaOmega and conquering stages from Bulgaria to London, the band now readies their most ambitious work yet with Wormholedeath.



Certesia tracklisting:

“Blax”
“Mr Graceful”
“Doctor Love”
“All Saints In Hell”
“King Of The Cafe”
“Lady Music”
“Misery Of The Cross”
“Philophobia”
“Desideria”
“Rockaphilia”

After more than two decades without a proper tour, SAVATAGE is preparing to return to the stage. The American metal band, known for its fusion of heavy, progressive, and power metal, has been largely inactive in the live scene since 2002, with their last full performance taking place at Wacken Open Air 2015. Now they are set for a series of concerts across South America in April and Europe in June. The return begins in Brazil, where SAVATAGE will perform at the Monsters Of Rock festival on April 19 at Allianz Parque, São Paulo. The event will also feature SCORPIONS, JUDAS PRIEST, EUROPE, OPETH, QUEENSRŸCHE and STRATOVARIUS. However, one key member will be missing: Jon Oliva, SAVATAGE's founding vocalist and keyboardist. In 2023, Oliva suffered a T7 vertebra fracture in three places, a severe injury that has left him relying on a wheelchair. Additionally, he was diagnosed with multiple sclerosis and Ménière's disease, conditions that have further complicated his health.

In an interview with Brazilian music journalist Marcelo Vieira, Oliva repeatedly emphasized that his injuries prevent him from taking part in the tour, explaining how his condition has affected even basic activities, let alone performing.

"Oh, I feel like shit," Jon said (as transcribed by BLABBERMOUTH.NET). "Well, I've learned my lesson. First of all, never fracture your spine. That's my first tip, because it's incredibly painful and it takes a long time to heal. And, unfortunately, I fractured my spine in three places. Other than that, I'm okay, except with the fracture, I mean, I can't sing. I can't really move around that well yet because it isn't completely healed yet. And I can't do therapy, physical therapy, because it's not healed enough yet for that. So I'm basically stuck, and it sucks and I'm very disappointed, but what are you gonna do? Things happen. And if I would've hit where I did a foot to the left, I'd be dead right now. My truck, my vehicle got cut in half and I missed being grounded to a tree by about a foot. It was scary. And it was a freak accident. I hit a puddle on the road, I hit a puddle and I hydroplaned and I went off the road and hit a tree, and the tree cut my car in half. And, like I said, I just missed hitting the tree with my body by about a foot, they said."

After Vieira noted that Oliva will still serve as SAVATAGE's "musical director" for the upcoming shows and inquired as to what "this new dynamic" has been like for Jon and the rest of the band, Oliva said: "Well, it's weird, it's strange, but I put everything together. I was the first one that started putting this whole tour thing together. And then when the accident happened, I ended up in the hospital for seven months and my managers were, like, 'Well, I guess we're just gonna cancel.' I'm, like, 'Oh, man. No, no. Let me think on this for a little bit.' And I talked to all the guys, and I said, 'Well, look, what if you guys just go and do it and do it without me for this time, for this run, and then when I'm healed up, I'll come back and everything will be like it used to be.' I didn't wanna disappoint the SAVATAGE fans because everyone was looking forward to it and the guys in the band were really looking forward to it. And then, of course, I got in that accident and it screwed everything up. And I'm not that egotistical of a guy where I'm, like, 'Well, if I'm not there, nobody's [gonna play].' I'm not like that. So I talked with everybody. I put a setlist together, song list together, and I said, 'Okay, well, you guys wanna do this? Let's do it. I'm with you.' I'm gonna go to all the rehearsals and everything like that. I'll be there doing musical directing and stuff and whatever.

"The guys are hungry. They're gonna do great," Oliva continued. "I'm very confident that that they're gonna kick your ass. I mean, I wish I could be there, but physically I can't. And I won't go out on stage if I can't be at a hundred percent. And with this injury, there's just no way that I can sing at a hundred percent, and I won't do that. I'd rather just let the guys do it, and when I'm healed up — hopefully next summer, next spring, summer — I'll be okay to be back in there and I'll be back out there."

Asked if this return to the stage is a "one-off celebratory event" or if fans can expect the band to continue to release new material in the future, Oliva said: "Well, we've basically got a whole album that's written, that I've been working on and worked on some stuff with [guitarist] Chris Caffery and I worked on some stuff with [guitarist] Al Pitrelli and some stuff on my own, and we basically got all the material. It's just we were getting ready to start working on it together and this accident happened. I was actually on my way to the studio when this accident happened. It was just bad timing, and what are you gonna do? I mean, it was just a freak accident, but that stuff happens. I'm lucky to be alive. I decided, well, let the guys go and do these shows in South America and maybe a couple shows in Europe and then we'll get to work on the album. And I can do that, I can work on the album, as I am right now, but I can't do any live performances, because I can't stay on my feet that long with this spine thing, and I can't sing. I sing from my diaphragm, and let me tell you, trying to sing with a fractured spine is very painful — it's like being stabbed with a screwdriver. So until I'm better, I'm sending the guys out there to bust ass, and they're gonna do great. And they're very excited, and I'm excited for them. And there's a few surprises we have in store."

Regarding the musical direction of the new SAVATAGE material, Jon said: "It's a little bit of everything. There's some really great, great heavy, heavy dark songs. There's some great progressive, QUEEN-ish type songs. It's a little bit of everything. As a matter of fact, there's so much stuff, it might have to make it a double album, 'cause I've just got too much material. And it's all good. I'm not gonna just slap together some crappy album and call it SAVATAGE: 'Here you go.' No. Every song has gotta be a 10, and so far every song we've worked on is really good. And I think you guys are gonna love it."

Joining Chris and Al in SAVATAGE's current touring lineup are Johnny Lee Middleton on bass, Zak Stevens on vocals and Jeff Plate on drums.

Zak joined SAVATAGE in 1992 as the replacement for Jon. Zak sang on four albums with the band — "Edge Of Thorns" (1993),"Handful Of Rain" (1994),"Dead Winter Dead" (1995) and "The Wake Of Magellan" (1997) — before departing in 2000, allowing Jon to return. Both Jon and Zak took part in SAVATAGE's 2015 performance at Wacken Open Air, which marked the band's first, and only so far, appearance on stage since they went on hiatus back in 2002.

SAVATAGE's last album release, "Poets And Madmen", in 2001 was highlighted by Jon's return as lead vocalist, replacing Zak, who left the band citing family reasons, and the departure of Pitrelli, who accepted an offer to join MEGADETH in 2000. Pitrelli did record solos for some songs prior to his exit. Another very limited U.S. tour followed, supported by FATES WARNING in the early shows, and then NEVERMORE for the remainder. Around this time, Jon chose Zak's replacement in the form of Damond Jiniya (DIET OF WORMS). Damond performed Zak's parts on tour, with Jon having an increased vocal role in proceedings.

In September 2021, Jon Oliva was arrested on the west central coast of Florida for driving under the influence as well as possession of a controlled substance. Police charged Oliva with possession of cocaine, which is a felony, and DUI, which is a misdemeanor. Oliva was reportedly arrested again in July 2023 on another cocaine possession charge.

Back in 2016, Jon announced on social media that he suffered a stroke in April of that year. At the time, he said: "It was not as serious as it could have been, but it did leave me with some physical recovery challenges often associated with strokes."

Despite his health issues, Jon said that he didn't regret the way he had lived his life. He wrote: "I lived the rock 'n' roll lifestyle since I was 18. It's all I knew and I enjoyed the ride very much. But there comes a time in everyone's life where you have to step back and make some life-changing decisions... which I have."

Shortly after SAVATAGE's reunion performance at the 2015 Wacken Open Air festival in Wacken, Germany, Oliva claimed that he felt better than he had in 20 years because he had "stopped drinking and eating" in preparation for the concert. He explained: "It's my voice that's freaking me out, because, even when I was in my late 20s, early 30s, doing songs like '24 Hours Ago' were always really hard to do. And, of course, I didn't realize that it was all the drugs and alcohol I was doing. But, after doing that, getting my act together and stuff, singing '24 Hours Ago', it's actually easy now. [Laughs]"

In addition to his work with SAVATAGE, Oliva is well known for co-creating the classical music-meets-prog rock and pyro act TRANS-SIBERIAN ORCHESTRA alongside Paul O'Neill. Oliva has reportedly remained involved in TSO's activities even after O'Neill's April 2017 death of an accidental drug overdose.

Jon's brother Criss, who was one of the founding members of SAVATAGE, was killed in October 1993 by a drunk driver when he and his wife Dawn were en route to the Livestock festival in Zephyrhills, Florida. The driver of the other car was found to have a drunk driving record of seven prior DUIs and having a blood alcohol content of .294 percent.

In a new interview with "The Garza Podcast", hosted by SUICIDE SILENCE guitarist Chris Garza, MACHINE HEAD frontman Robb Flynn spoke about his band's upcoming eleventh studio album, "Unatoned", which will be released on April 25 via Nuclear Blast/Imperium Recordings. Regarding his songwriting approach for the follow-up to "Of Kingdom And Crown", which came out in August 2022, Robb said (as transcribed by BLABBERMOUTH.NET): "My last album was like a huge renaissance for the band. It just was fucking crazy. We headlined Hellfest [in France]. It was our tenth record. It was a concept record. It was the first time we ever did a concept record. Opening track was a 10-minute-long song. It's nuts.

"I'm fortunate enough to have been in this position a handful of times where I now have to follow up this record that is so beloved by fans, by people," he continued. "It's incredibly successful — elevates the band to another level. And everybody wants us to write another concept record. Everybody is just, like, 'You should just make another record like that one.' And I'm, like, 'You can't, because it's never gonna live up.' Nothing's ever gonna live up, ecause that moment for so many people. Lars [Ulrich of METALLICA] always talked about this — the reason so many people love [METALLICA's] Black Album, it's, like, they lost the virginity to the Black Album. Nothing is ever gonna top that. People lost their virginity to [MACHINE HEAD's] '[Unto] The Locust' or 'The Blackening' or whatever. Nothing's ever gonna top that. That's just life and stuff.

"So with this record, I set some pretty strict parameters around what I could do," Flynn explained. "And I'm not a big believer in talking about the direction of a record. I always feel like even if we have done it in the past, it never panned out. 'Oh, it's gonna be the heaviest or the thrashing' or the whatever, and you've just gotta follow it to wherever it goes… But I did want to put some structure around it. The last record had a bunch of long songs, so I was, like, 'I don't want any song longer than four minutes on this record.' So that was one structure. The other structure is — [I'm a] huge SLAYER fan to the death; [they're] one of my favorite bands, life-changing bands of all times. And one of the most underrated things about SLAYER is their genius use of chord changes — chord changes fucking galore all over every song. [They'd] have, like, three different chord changes in the lead section, and it the way it sets up the chorus or whatever. So I was, like, 'Every song has to have a chord change outside of the typical structure that you would expect.' … At some point it's gotta go to a key change that totally doesn't go with where the rest of the song went. Last thing is that the music in the last chorus had to be different from the music in the first chorus —maybe the drums drop out, maybe the guitars drop out, maybe that's where the key change happens, but something had to be [different]. The lyrics would always be the same. And at first it kind of took me a minute to kind of get into that mindset, like, 'Wow, this is a really challenging way to write,' but it always just became about trimming the fat, trimming the fat, trimming the fat. And in the end what we came up with was 10 songs plus two instrumentals. It's 41 minutes — the shortest album in MACHINE HEAD history. And I'm really proud of this thing. I really feel like we've got a fucking monster on our hands. It's just really unique."

Elaborating on the musical direction of "Unatoned", Robb said: "It's not our heaviest record; I would never say that it's our heaviest record. It's got a lot of melody. The last song on the record is a… I'm a total sucker for the Elton John piano ballad. I love Chris Stapleton… And that last song 'Scorn' is… It's, like, I've been trying to write a piano ballad for four albums in a row now, and I failed four albums in a row. And I finally nailed it with this album. I collaborated with this guy Joel Wanasek. I collaborated with Jordan [Fish], ex-BRING ME THE HORIZON, on the whole album. He actually got a piece on the record, which was really cool — added a really amazing element. I've got a few collaborators, like four guys that I work with, but me and this guy, Joel Wanasek, finally nailed down this piano thing… It was the last song I wrote on the record. And I know a lot of people think I'm super Mr. Libtard, social justice warrior guy and that's just not me, but that's kind of just what people think and the haters think. And I just started writing about — not that — but I just started writing about, I don't believe in Trump, but I think the fucking Democrats are a bunch of spineless fucking pussies. And I don't believe in anything anymore. I believe in myself. And I just wrote all of these lyrics kind of in that mindset. And the last line is, 'The wings of an angel, the heart of a king, the strength of a lion, the power I bring. I've lost faith in everyone, follow no more, my heroes have failed me, they look down on me with their scorn.' And so I took all of that. I was, like, 'I don't have any music, but I really like these lyrics.' So I came in with Zack [Ohren] — Zack's my engineer; he's my producer. He is fucking awesome; he's amazing… And I just picked up a guitar and I just said, 'I'm gonna play four chords here and I'm just gonna make this up as I go. I don't even know what I'm doing. I just wanna sing over this to something.' And I did, and I sang it, and I sang it in two takes. I laid out all the lyrics that I had written that morning. I pulled up some shit on my computer. I got two binders of lyrics. I wrote three and a half binders of lyrics from this record alone — just three and a half binders… And I literally sang the song in two takes, and when I was done, I was, like, 'That song's fucking done.' And it's the last song on the record. And I sent the chords to Joel and I was, like, 'Hey, like, can you make this into sad piano chords and put it together and kind of reverse engineer the rest of the song?' And I've gotta say, I'm so proud of this song. It's definitely kind of the outlier of the record, but I really just feel like it's a special song. And it's kind of something we've never done. And when you've been trying to do something for a long time — 15 years, I've been trying to write a fucking piano song — and it always just sounded too dorky… And it [finally] happened [on this album]."

Flynn also talked about his general approach to creating art with MACHINE HEAD, saying: "I don't know what I'm doing. I'm just trying to write music. Alls I ever wanted to do was just play guitar and write songs and sing and make motherfuckers circle pit and make motherfuckers jump and sing and fucking headbang and go crazy. That's all I've ever wanted to do.

"I'm not a businessman. I don't know what the fucking right decision is," he continued. "I just know the music that I do and where it comes from, and I do know that I'm really, really, really good at that. I know that. I'm not one of these guys who's good at a million fucking things — I'm not — but I do know that I'm really, really good at that. And I just try and focus on that. And I've got a good team of people that help me make decisions now and I feel like we've all got a good head on our shoulders and what MACHINE HEAD needs to be.

"We're not the heaviest band in the world," he added. "We're heavy, but we've been around for 32 years, and motherfuckers like you guys [SUICIDE SILENCE] came along and LORNA SHORE and SLAUGHTER TO PREVAIL, and you're fucking 10 times heavier than we will ever, ever, ever be. I can't sing like that. I don't even wanna try to; it'd be fucking ridiculous to. It would sound stupid for my fucking heavy metal Gandalf ass to be fucking trying to sing like that. We found our lane and we're super lucky that we found our lane and we fucking made that lane a little bit wider and a little bit wider so we can kind of go over here and do this and go over here and do this. But at the end of the day, it's just MACHINE HEAD music. That's what it is to me. It's metal, for sure — a hundred percent."

"Unatoned" was recorded at Flynn's Jam Room, Sharkbite Studios and Drop Of Sun Recording between July 2023 and December 2024. The album was produced by Flynn, as well as Zack Ohren, who was also responsible for the engineering. The mixing and mastering was handled by Colin Richardson and Chris Clancy at Audioworks UK, and the mastering of the record was handled by Ted Jensen and his assistant Justin Shturtz. The only exception was the track "Landscape Of Thorns" which was produced by Flynn and Joel Wanasek who was also in charge of mixing the single alongside Zack Ohren. MACHINE HEAD once again tapped Seth Siro Anton to create the album artwork.

"Unatoned" track listing:

01. Landscape Of Thorns
02. Atomic Revelations
03. Unbound
04. Outsider
05. Not Long For This World
06. These Scars Won't Define Us
07. Dustmaker
08. Bonescraper
09. Addicted To Pain
10. Bleeding Me Dry
11. Shards Of Shattered Dreams
12. Scorn

Last November, MACHINE HEAD released "These Scars Won't Define Us" as the first single from "Unatoned". The official lyric video for the track, which features guest appearances by the other three bands which will accompany MACHINE HEAD on the Flynn-fronted outfit's spring 2025 North American tour — Swedish metal icons IN FLAMES, Italian alt-metallers LACUNA COIL and American metalcore maestros UNEARTH — can be seen below.

The five-week jaunt will begin on April 5, 2025 in Oakland, California at the legendary Fox Theater, then heads south for a stop at Sick New World festival, then east, and back across Canada, before concluding on May 10 in Kelowna, British Columbia.

MACHINE HEAD's current lineup includes former HAVOK guitarist Reece Alan Scruggs. Scruggs stepped in for MACHINE HEAD's previous guitarist Wacław "Vogg" Kiełtyka, who had been unable to make some of the group's dates due to his touring commitments with his longtime band DECAPITATED.

Reece made his live debut with MACHINE HEAD in November 2022 at Strummer's in Fresno, California at the opening show of the "Electric Happy Hour (Live)" tour.

Vogg joined MACHINE HEAD's touring lineup prior to the launch of the band's "Burn My Eyes" 25th-anniversary tour in late 2019.

The rest of MACHINE HEAD's lineup consists of guitarist/vocalist Flynn, bassist Jared MacEachern and British drummer Matt Alston (DEVILMENT, EASTERN FRONT).

Earlier last year, MACHINE HEAD completed the "Slaughter The Martour" North American tour with support from L.A.'s FEAR FACTORY, Sweden's ORBIT CULTURE and Louisville, Kentucky's GATES TO HELL.

Fountainhead, the musical alter-ego of Berlin-based musician Tom Geldschläger, is a celebrated figure across diverse music landscapes. Known for his expansive involvement in the music industry, Tom has contributed to over a hundred releases in capacities ranging from guitarist to orchestrator, producer to mixing/mastering engineer, and occasionally even as an oud-player. His collaborations span globally recognized artists such as Obscura, Belphegor, Marco Minnemann, Defeated Sanity, Amogh Symphony, Hannes Grossmann, Voodoogods, Christian Münzner, Nader Sadek. Featured in numerous international music magazines, authored several books of non-fiction and musical notation, Tom has also been instrumental in integrating the fretless guitar into extreme metal genres.

Acclaimed as a “modern-day guitar legend,” Tom’s signature playing style and adventurous genre-defying compositions highlight his fearless approach to music. His endorsements include prestigious brands like Aristides Guitars, Elixir Strings, and Bare Knuckle Pickups. Additionally, Tom is a sought-after clinician and speaker, focusing on creativity, music production, and musician’s mental health, as well as being at the forefront of spatial audio and 360-degree audio production.

In a significant development in early 2024, Fountainhead, now branded under the name Changeling for his new project and album, signed with the label Season of Mist. This venture marks a new chapter in Tom’s career, amplifying his visionary approach to music. Accompanied by an all-star band featuring members from Fear Factory, Alkaloid, and Virvum, Changeling showcases a 60-minute concept album that takes all aspects of Tom’s artistry to new heights.

The self-titled debut album blends progressive metal, death metal, jazz/fusion, and world music, enriched with complex orchestrations by a 50-piece ensemble of guest musicians. It includes the eagerly anticipated “Part 2” to his renowned composition “Weltseele,” an orchestral metal epic from Obscura’s billboard-chart-entering Akroasis album, which broadly introduced Fountainhead to the metal community in 2016.

Available formats:

– Digital Download
– CD Digipak
– 2×12″ Coloured Vinyl – Crystal Clear w/ Red Splatters
– 2×12″ Coloured Vinyl – White w/ Red Splatters

Available on April 25, you can pre-save/pre-order here.



Tracklisting:

“Introject”
“Instant Results”
“Falling in Circles”
“World? What World?”
“Metanoia Interlude”
“Changeling”
“Abyss”
“Cathexis Interlude”
“Abdication”
“Anathema”

Core Lineup:

Tom Fountainhead (ex-Obscura, Amogh Symphony, Belphegor, Defeated Sanity) – Fretted & fretless electric & acoustic guitars, oud, keyboards, composition and arrangements
Mike Heller (Fear Factory, Malignancy, Raven) – Drums
Arran McSporran (Vipassi, Virvum) – Fretless bass
Morean (Alkaloid, Dark Fortress) – Lead vocals & lyrics

Guest Musicians:

Bill Hudson (Trans-Siberian Orchestra, Doro, I Am Morbid) – Guest guitar solo
Jason Gobel (ex-Cynic, ex-Monstrosity) – Guest guitar solo
Andy Laroque (ex-Death, King Diamond) – Guest guitar solo
Yatziv Caspi (ex-Orphaned Land) – Tabla, hangdrum, dabouka, riq & shakers
Ally Storch (Subway To Sally) – Violins, viola & cello
James Dorton (The Faceless, NeObliviscaris, Black Crown Initate) – Spoken words
Alexander Kerski (Vianova) – Backing & harmony vocals
Matthias Alexander Preisinger – Piano and glockenspiel, violins & viola
Martin Matiasovic – Horns & Wagnerian Tube
Jan Ferdinand – Vibraphone & marimba
Chris Rützel – Flutes
Ivar Ludvig Nitzler – Cello
Shiho Murano – Tuba
Juliane Erding – Wagnerian tube & horn
Eduard Cortez – Wagnerian tube & horn
Tillmann Schulz – Wagnerian tube & horn
Ava Bonam – Female vocals
Moran Magal – Piano
Cydney McQuillan-Grace, Lauren Gill, Shannon Bedford, Sara Robalo; Tenor and Bari – Ben Francis, John Schaffer, Alice Williams, Cyd McQuillan-Grace; Alto – Lauren Gill, Sara Robalo; Tenor and Bass – James Schouten & John Schaffer – Choir vocals
Krassimir Jossifov – Trumpet
Brandt Attema – Trombones & bass trombones
Kristian Petkov – Bassoon
Stefan Prost – Church organ
Seonghyeon Park – Clarinet
Arnfried Falk – Oboe
Rouven Haliti – Upright bass
Dalai Cellai – Cello

Recording Studio:

FountainheadHQ, Hellersounds, Saforill, Klanghafen, Landesmusikakademie Berlin, Musikhochschule Carl-Maria-Von-Weber, Muziek Studio Beeld, Sonictrain.

Production Credits:

Produced & Engineered by Tom Fountainhead.
Mixed by Tom Fountainhead at FountainheadHQ.
Mastered by Leon Schmidt at his home studio & FountainheadHQ.

Mobile Fidelity is set to release Heart’s Dreamboat Annie album on numbered, limited edition 45rpm 180g 2LP vinyl. The official release date is yet to be announced, but you can pre-order the release at Elusive Disc.

Heart’s breakthrough debut, Dreamboat Annie, has often been framed in the context of a female-led band successfully matching the moves of its male counterparts during an era when women weren’t associated with rocking out — particularly on a mainstream level. While that take is true — Ann and Nancy Wilson practically stood alone amid a commercial age dominated by testosterone — it undersells the appeal, scope, and craftsmanship of an album that deserves to be revered strictly because of its merit, not because of the gender of the group’s principal members.

Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 45RPM LP puts the record’s artistic significance in proper perspective. Presented in definitive sound, it invites you to hear with stellar clarity the diverse architecture, passionate playing, and fervent emotions that help make Dreamboat Annie an all-time classic. This 50th anniversary edition also marks the first time Heart’s opening salvo has been available in audiophile quality on vinyl in more than four decades.

Drop the needle and experience the textures of the guitars, full range of Ann Wilson’s voice, spacious backdrops of the arrangements, and rhythmic momentum — crucial components of Heart’s songs — free of veiled tones and artificial ceilings. Ample separation between instruments and black backgrounds bring the music into detailed focus, whether it’s the full decay of percussive accents, layered stacking of group harmonies, or depth of the bass lines. Helmed by Mike Flicker, Dreamboat Annie features advanced production that belies that of most independent releases of the time. The dynamics alone on this pressing confirm that fact.

Although the passage of time, as well as Heart’s Hall of Fame career, have nearly caused the historical tidbit to fade into obscurity, Dreamboat Annie was originally issued by the tiny label Mushroom Records after major imprints inexplicably took a flyer on the album. Released in Canada in September ’75, it hit shelves in the States in February of the following year. By the fall of 1976, Heart had a platinum LP and three hit singles. As well as an upcoming battle with Mushroom Records that, while another story entirely, further underlined the Wilson sisters’ toughness and determination.

Those traits resonate throughout Dreamboat Annie, which kicks off with the spellbinding “Magic Man.” Released in advance of the LP as the quartet’s second single, the Wilson sisters’ anthem partially doubles as an autobiographical tale based on Ann Wilson’s then-relationship with band manager Michael Fisher. His brother, Roger, turns in memorable lead-guitar passages that connect with the song’s funk-laden structures and Ann Wilson’s commanding singing. Mystical, rugged, sensual, persuasive, steady, edgy, well-composed: “Magic Man” possesses a majority of the elements that would define Heart’s finest songs and, fittingly, stands as the ensemble’s first Top 10 smash.

While the record’s debut Stateside single, “Crazy on You” didn’t climb quite as high, it cracked the Top 40 and demonstrated the authoritative momentum, melodic build, and contagious crunch that the group was capable of summoning without seemingly breaking a sweat. Heart’s now-trademark acoustic-electric frameworks, Ann Wilson’s ravishing power, and ace timing are all here in spades. Not to be overlooked, the declarative “Sing Child” and strutting “White Lightning & Wine” contain similarly aggressive elements, with the latter combining boogie riffs, cowbell-driven beats, and blustery vocals to remind anyone paying attention that Heart means business.

The band further separated itself from its rock contemporaries via a trove of lighter material. Eclipsing the six-minute mark, “Soul of the Sea” depicts Heart’s ambitious interest in psychedelia, blues, and folk. Heart’s tender side also emerges on the misty ballad “How Deep It Goes,” a prime example of Ann Wilson’s penchant to deliver softness with the same penchant she does heaviness — and a standout for Nancy Wilson’s prowess on guitar. Both sisters similarly shine on the crossover “(Love Me Like Music) I’ll Be Your Song,” whose mix of vulnerability, strings, and handclaps signal the extraordinary vision Heart had from the start. Decades later, it all sounds better than ever.

Features:

– Numbered, Limited Edition
– 180g Vinyl
– Double LP
– 45rpm
– Mastered from the 1/4″ / 15 IPS Dolby A Analog Copy to DSD256 to Analog Console to Lathe
– Pressed at Fidelity Record Pressing
– Stoughton Gatefold Jacket



Tracklisting:

Side A:
“Magic Man”
“Dreamboat Annie (Fantasy Child)”
“Crazy On You”

Side B:
“Soul Of The Sea”
“Dreamboat Annie”

Side C:
“White Lightning & Wine”
“(Love Me Like Music) I’ll Be Your Song”
“Sing Child”

Side D:
“How Deep It Goes”
“Dreamboat Annie” (Reprise)

Reunited California thrash metal pioneers DARK ANGEL will release the title track of their upcoming album, "Extinction Level Event", on Friday, April 11. The cover artwork for the LP can be seen below. Also available is a short teaser for the effort.

DARK ANGEL's first new album in 34 years, "Extinction Level Event", is due to be released later in 2025 via Reversed Records.

Fan-filmed video of DARK ANGEL performing two new songs, "Extinction Level Event" and "Circular Firing Squad", on March 23 at the Metal Beer Open Air festival at Hipódromo Chile in Santiago, Chile can be seen below.

Last month, DARK ANGEL drummer Gene Hoglan was asked by Chile's PowerOfMetal.cl about the progress of the songwriting sessions for the band's long-awaited new album. He said: " Well, we are going to be debuting a couple of new songs, some new material, at these upcoming couple of South American shows that we have. I know we are playing Buenos Aires [on March 21], and that's two nights before the Metal Beer [Open Air] fest. So, at both of those shows we are debuting some new material, and we're really excited to be able to play some new stuff after all this time. And hey, man, hopefully that's gonna lead to a whole bunch more stuff. And we're very excited to be unleashing some new material on the metal world."

Regarding the possibility of a new DARK ANGEL album being released this year, Gene said: "Boy, you never know. We're working and trying to make things happen. And so hopefully at some point — I've said this many times in the past — hopefully at some point we'll be able to give some kind of exciting update on progress of anything. And so hopefully we'll be able to do that somewhere in the near future. And everybody, keep your eyes peeled to DARK ANGEL. We'll see what happens."

DARK ANGEL was originally scheduled to play new music for the first time since 1991 during its January 29 concert at the Whisky A Go Go in West Hollywood, California. However, that show ended up getting postponed due to the wildfires in the state.

In July 2024, DARK ANGEL officially entered the studio to begin recording its new LP. Two months earlier, Hoglan told Rocking With Jam Man that he had "been working diligently for the last couple of years on some projects that are gonna make DARK ANGEL fans really happy, I think. So, everybody, just sit tight," he said. "I just don't wanna nebulously announce something and then have circumstances beyond my control come along and make things delayed. I just wanna be able to be able to say, 'Yes, this is gonna be a solid date that we can announce for people, and we're gonna be able to stick to that date.' That's what I'm all about. So, keep your eyes and ears peeled, everybody."

Asked what it has been like making new DARK ANGEL music more than 30 years after the release of the band's last album, 1991's "Time Does Not Heal", Gene responded: "Well, that's one thing. It's like we had a choice. I had an entire DARK ANGEL album written that was ready to start getting recorded after the 'Time Does Not Heal' record, and circumstances occurred where the band just had to dissolve. So, I had a bunch of material written. And when [DARK ANGEL guitarist] Jim Durkin and myself — Jim is no longer with us, but when we put DARK ANGEL back together and we started talking about, like, 'What do we wanna do for the future? Do we wanna write some new material?' And 'I've got some ideas, Gene, and you probably have some ideas.' And I have a number of songs that I sent to Jim. And when Jim heard that — I sent it to him on a CD — he freaked out and he was, like, 'My God, here's our new album. This is gonna be our next record. Hell yeah.' And he got really excited about that material. But I was, like, 'Hey, Jim, tell you what. I feel really strongly about my writing chops, and the songs I'm hearing from you right now are crushing. So how about we just write new stuff, get together and start writing new material?' And so we kind of went that route."

He continued: "For my elements of what I wanted DARK ANGEL to sound like, Jim Durkin is a huge influence on my writing style. So I wanted this to have a lot of the Jim Durkin influence on it. In terms of riffs, there's not as many from Jim as we were hoping for, but Jim's entire presence is all over the new DARK ANGEL material that I've been working on. And he's a huge guitar influence on me, as well as a lot of people. So, there's definitely gonna be a pretty hardy Jim Durkin influence. And I just wanna write a kick-ass metal album. So what I've tried to do is not go back 35 years or 37 years or whatever, 'Darkness Descends' or even 'We Have Arrived', those early albums, or 'Leave Scars' or 'Time Does Not Heal', I've not tried to duplicate anything from any of those albums, but I tried to put myself in the mindset of what if DARK ANGEL just kept writing albums for the last 30-whatever years, 32, 33 years, where would we be at now? And so that has been my approach on the new DARK ANGEL material."

Durkin died on March 8, 2023 at the age of 58. An original member of DARK ANGEL, Durkin played on the band's first three albums — 1985's "We Have Arrived", 1986's "Darkness Descends" and 1989's "Leave Scars" — before departing the group in 1989. He was part of DARK ANGEL's lineup when the band reformed in 2013, and had been playing with them, on and off, ever since.

Prior to his death, Durkin had been sitting out some of DARK ANGEL's gigs. He was replaced at the shows by Hoglan's wife Laura Christine, who has since joined DARK ANGEL as a permanent member.

DARK ANGEL released two albums with Don Doty on vocals — the aforementioned "We Have Arrived" and "Darkness Descends" — before he exited the group and was replaced by Ron Rinehart (after a brief stint with Jim Drabos in 1987). The band issued two more studio LPs — "Leave Scars" and "Time Does Not Heal" — before calling it quits in 1992.

Hoglan previously talked about DARK ANGEL's upcoming LP in May 2023 in an interview with Friday 13th. He said at the time: "Jim and I, we had gotten together a number of times to write some new material for DARK ANGEL. And we weren't able to get it down on tape too much. If DARK ANGELhas any new material, there's a song that he's got on there that is pretty darn DARK ANGEL-esque.

"In tribute to Jim, DARK ANGEL's new material will have a ton of his spirit all over it — his feel. Whether he actually wrote stuff on the new stuff or not, his spirit is very there. His imprint is felt throughout thrash metal, I feel. Even before I was in DARK ANGEL, I'd see Jim's influence on bands. Absolutely. So his legacy will live forevermore in the realm of extreme metal. His style will always be a part of DARK ANGEL, absolutely, big time."

Asked how the next DARK ANGEL album will compare to the band's previous efforts, Hoglan said: "Well, I can't really even comment on the fact that there might or might not be an album yet. But put it this way — if I were to have any new DARK ANGEL material, I would want it to be an extension of where the band is at now and where I'm at now. And I would probably approach the writing of it in a way as if DARK ANGEL never disappeared for a decade, two decades, three decades, or whatever it's been. It's just like we just kept doing what we do, and this would be where we're at right now. Which I would want to be putting out the most savage, heaviest material that DARK ANGEL could. And I'm no slouch with writing psychotic, heavy material. So I would be very, very excited with where DARK ANGEL's new material would be if that would be able to confirm."

Grammy-nominated doom pioneers CANDLEMASS have unveiled the title track of their upcoming EP, "Black Star", out May 9 via Napalm Records. The EP impressively marks the 40th anniversary of the legendary band.

"Black Star" seamlessly merges haunting melodies with deeply introspective lyrics, brought to life by the inimitable voice of Johan Längqvist. Written by mastermind Leif Edling, it delves into themes of existential struggle, temptation, and the allure of darkness — an intense atmosphere imbued with CANDLEMASS's signature sound. The single arrives with a dark, atmospheric music video, which can be seen below.

CANDLEMASS comments: "'Black Star' is the big heavy track. Contains a bit of everything, Melodic verse, monolithic riff, up-tempo SABBATHy mid part, grand ending a la RAINBOW!"

With "Black Star", the genre-defying band unveils two brand-new songs alongside two cover versions of timeless classics. The EP will be available in various formats, including a strictly limited vinyl edition featuring a 12-page vinyl booklet, an A3 poster, and a tote bag.

Edling commented: "Not all bands get to see their 40th birthday and it certainly hasn't been an easy ride. But many ups and downs later, we stand here as survivors, veterans even… a bit scarred perhaps? Still ready though to unleash another piece of doom-laden metal upon an unsuspecting world. You have to do something when you turn 40, right? Anyway, as always, it's been fun recording some new stuff as well as covering a couple of old favorites."

Following the title track, the second new song, "Corridors Of Chaos", marks a true old-school instrumental containing both classic metal riffing and stunning guitar playing by Lars Johansson, showcasing the band's mastery of dynamics. Adding to this tribute, CANDLEMASS delivers a cover of BLACK SABBATH's iconic "Sabbath Bloody Sabbath", taking listeners back to 1973. This is followed by their rendition of PENTAGRAM's classic "Forever My Queen", further cementing CANDLEMASS's remarkable contribution to shaping the genre into what it is today.

"Black Star" track listing:

01. Black Star (new song)
02. Corridors Of Chaos (new song)
03. Sabbath Bloody Sabbath (BLACK SABBATH cover)
04. Forever My Queen (PENTAGRAM cover)

As previously reported, a one-off world-exclusive performance of CANDLEMASS featuring the band's former vocalist Messiah Marcolin will take place at this year's edition of the Rock Hard Festival Greece, slated for September 12-13, 2025 in Athens, Greece.

Back in October 2022, Messiah and longtime CANDLEMASS guitarist Mats "Mappe" Björkman joined Canadian metallers ANVIL on stage at the Slaktkyrkan venue in Stockholm, Sweden to perform the classic ANVIL song "Metal On Metal". The event marked the first time in 16 years that the two musicians performed together.

Marcolin exited CANDLEMASS for the presumably final time in 2006, one year after the release of the band's self-titled album. He was later replaced by Robert Lowe (SOLITUDE AETURNUS),who sang on the band's "King Of The Grey Islands" (2007),"Death Magic Doom" (2009) and "Psalms For The Dead" (2012) LPs. CANDLEMASS's frontman between 2012 and 2018 was Mats Levén, who previously recorded and toured with YNGWIE MALMSTEEN and THERION. Seven years ago, CANDLEMASS fired Levén and rehired Johan Längqvist. Längqvist sang on CANDLEMASS's debut album, 1986's "Epicus Doomicus Metallicus", before exiting the group and being replaced by Marcolin.

Photo credit: Linda Åkerberg

Canadian rockers SUM 41 have shared the official music video for their song "Radio Silence". The track is taken from the group's last-ever album, "Heaven :x: Hell", which came out in March 2024.

SUM 41 says: "As the SUM quietly set Sunday night, we wanted to leave you with something special to show our appreciation for all of the love that you have shown us over the years. We present you with the final SUM 41 music video. Watch 'Radio Silence' now."

SUM 41 announced its retirement in May 2023 and revealed plans to tour the world one more time.

The band's final tour concluded with a show in SUM 41's original hometown of Toronto at Scotiabank Arena on January 30, 2025.

Earlier this week, SUM 41 was inducted into the Canadian Music Hall Of Fame at the Juno Awards in Vancouver, British Columbia. In his acceptance speech, SUM 41 frontman Deryck Whibley said: "Thank you to our families for all the love and support throughout the years and, of course, thank you to all the SUM 41 fans for sticking with us through all the ups and all the downs. All the struggles had made all the successes feel that much greater. We're proud of this journey. It's been exciting, it's been dangerous, but most of all, it's been honest."

"Heaven :x: Hell" received rave reviews from the likes of Kerrang!, Dork, NME and more. The band's hit singles off the record "Dopamine" and "Landmines" made waves in radio airplay, reaching No. 1 on Mediabase Alternative charts.

Looking back at the band's storied 29-year career, SUM 41 has firmly cemented their place in history with over 15 million records sold worldwide, multiple Billboard-charting releases and No. 1 hits, a Grammy nomination, two Juno Awards (seven nominations),a Kerrang! Award in 2002, multiple Alternative Press Music Awards, sold-out tours and packed venues everywhere, and countless other accolades.