Today, MAN RABID, the boundary-pushing microtonal project from Swedish heavy metal musician Tony Jelencovich Aaberg (Transport League, M.A.N, Mnemic), proudly launches his debut single, “Seven Days.”
“Seven Days” deals both lyrically and visually with the endless struggle of life in a world that constantly challenges and puts existence on its edge. In a lost world and when the flame of life is extinguished, another is lit. Through fire life is born, through life fire is lit.
MAN RABID marks a bold new chapter in Aaberg’s career, diving deep into microtonality through the use of custom-built instruments tuned to a 19-EDO syntonic temperament. The result is a strikingly unconventional sound—warped riffs, dissonant grooves, and intense, visceral vocals that challenge the limits of traditional heavy music.
By stepping outside standard tuning systems, MAN RABID crafts a sonic landscape that feels both unsettling and forward-thinking, blending technical experimentation with raw aggression.
The project’s debut EP, ‘The Messiah Complex I,’ is set for release in 2026 via Black Lodge Records, promising a powerful introduction to this uncompromising new vision.
Two-day Scream Rock Fest 2026 took Italy’s City of Flowers, Sanremo by Storm at the end of May, with pure energy dedicated to the best independent and historic bands from the Ligurian and national music scene.
The event’s organizer Steve Foglia conducted an interview with Ligurian heavy metal legends, WILD WINGS (formed in 1987), join the chat below.
Let’s take a step back in time: 1987, Imperia. In those years, the Italian metal scene was exploding underground, but making a name for oneself outside the main circuits was anything but easy. How were the Wild Wings born in the minds of Maurizio Dedoni and Phil Ranise, and what did it mean to play Heavy Metal in Liguria at that specific moment in history?
“It was a chance meeting between passionate rock musicians. Phil had just come back from an unsuccessful experience in London with his band, and I found myself playing music with various groups that just didn’t inspire me. From our meeting, a shared vision emerged; we started hanging out with guitars in hand, and our first songs came together almost spontaneously. The tracks were pure, heavy rock. We found a drummer, and the adventure began.
In western Liguria, we were probably one of only two bands playing Heavy Metal, but determination worked in our favor. We started making our voices heard at every single opportunity that came our way—music events, clubs, you name it. We worked hard to build a repertoire of original songs, and that’s what won over the critics and earned us our fans.”
The “demo tape” culture of the ’90s was the backbone of metal. You fully lived through that era of cassette trading by mail and photocopied fanzines. What is your craziest or most romantic memory of those recording sessions and that sheer “hunger” to be heard?
“In reality, Phil and I were the engine of the band; specifically, I was the more artistically creative one, driven by the desire to get our music out there. Our first recording was in the late ’80s at Thomas Gredler’s recording studio—he was the only sound engineer who believed in us from the very beginning, and he guided us toward a powerful and original sound.
I particularly remember my vocal and bass recording sessions, which were squeezed into the short breaks of my military leave. I would travel down from Milan, where I was doing my compulsory military service, head straight to the studio to record, and then rush right back to the barracks. We were driven by pure enthusiasm, and we were putting together several major songs—some of which we still play in our live shows today.”
In 2003, with the arrival of Frederic “Freddy” Volante on drums, the band received a real jolt of adrenaline. You immediately hit the stage again and wrapped up the EP at LAROKKA studio. What kind of energy did Freddy bring to ignite that spark so quickly?
“Freddy’s arrival was a moment of pure joy because, after the departure of our longtime drummer Kino, we were left devastated. However, our desire to play was as strong as ever, so we got to work and auditioned several drummers. Then a friend pointed me toward Freddy, who happened to be a fan of ours. I contacted him and we brought him in for a tryout: right away, I knew he was the right guy. Precision, power, finally a double bass pedal, and the ability to adapt to the band’s sound while locked into the bass lines, which massively elevated our rhythm section.
All the ingredients for a great new project were there. We threw ourselves into the studio and immediately recorded a 6-track EP; that’s when things really began to take shape for the…”
The band’s history is marked by an ironclad brotherhood, but also by the departure of Phil Ranise and a revolving door of guitarists that would have discouraged anyone. Yet, Maurizio and Freddy didn’t back down an inch. What gave you the strength to say, “We keep going, even if we have to do it all by ourselves”?
“Never give up is our motto in life. Over the decades, the band had built up an important repertoire, with dozens of songs waiting to be developed and integrated into an already vast catalog. With Freddy and Phil, we were like a family—the pleasure of spending time together, helping each other through tough times, celebrating everyone’s personal achievements; in short, the joy of sharing. When Phil left the band for personal reasons, we understood and accepted it with full awareness. Phil remained with us in our music and our thoughts, but our music was powerful, and we couldn’t just let a constantly evolving project—both in its creations and its sound—fade away.”
Let’s talk about Don’t Stay Blind, the 2025 album. Produced, recorded, and spat out entirely by the two of you (Maurizio and Freddy). A true declaration of total independence. Musically and lyrically, what kind of “blindness” does this record strike out against?
“Don’t Stay Blind was the crowning achievement of several aspects of the band. First and foremost, it brought us closer together. We were orphaned by Phil’s departure, and we had auditioned several guitarists; with some, it went well and we managed to play several live shows, but we still don’t understand why, in the end, Freddy and I always found ourselves alone again, without anyone bringing fresh blood to the band.
Since I am a multi-instrumentalist, the band’s songwriter, as well as the vocalist and bassist, Freddy and I decided that I would handle the guitar tracks too. So that’s what I did. Beyond being a tribute album to a historic local band, Don’t Stay Blind is also my personal calling card. On the record, we touched upon various themes; we wanted to issue a warning to pay attention to everything around us—a wake-up call not to stay blind, but to always think for oneself and break free from the mold that society and the media impose on us. Wild Wings is a free and unconventional band.”
Going from the demo tapes of the ’80s and ’90s to today’s digital streaming platforms is a quantum leap. How does an old-school band navigate this new world, where everything is just a click away, but where the magic of wearing out the booklet of a vinyl record or CD has perhaps been lost?
“Yes, absolutely everything has changed in music and music production. Today, the motto is ‘everything, right now.’ This allows people to listen to music instantly, which means music production has to be constant and active, otherwise the risk of vanishing from the market is high. We’ve never focused on trying to reach everyone, but rather on just reaching people somehow. We too hopped on the multimedia wave, but without any pressure—working at our own peaceful pace, for the pure pleasure of playing and being true to who we are, rather than what trends dictate.
In a way, listening to our record is a bit like stepping back in time; we took great care with the sonics of those years, and you can clearly hear it on several tracks. The same goes for our live shows, which blend the signature sounds of classic ’80s Heavy Rock with modern, more sophisticated tones.”
The loneliness in the studio is over: in 2025, Riccardo Malan and Alessandro Valzano came on board. With an extra guitarist and a multi-instrumentalist (keyboards/guitar), how is the Wild Wings’ sound changing? What kind of dynamics are forming for the second album currently in the works?
“Riccardo and Alessandro have fit perfectly into the band’s philosophy. Going from being a power trio with Phil to a band with two guitars and the addition of keyboards on several tracks has completely changed the game. We’ve shifted from a very raw, almost punk-rock sound to more refined and harmonious tones. The ‘grit’ and rhythmic tension remain the same, but they are now complemented by a sonic direction that guides the listener toward more defined harmonies.
We have enough material for several albums—the band is highly prolific. Our next work will feature older tracks, rearranged and adapted to our new sound, alongside brand-new songs. Of course, there will also be a cover song, just like on Don’t Stay Blind, where we celebrate a track or a band that has been particularly inspiring to us.”
Also in 2025, your documentary was released on YouTube. Laying bare decades of stories, stages, dust, and rock ‘n’ roll in front of a camera is no small feat. What was the most difficult (or most emotional) scene or memory to recall during filming?
“Making the documentary was a true blast from the past. I won’t deny that it was a very intense emotional experience for me, because for the first time, I went back in time and was forced to relive not only our entire history, but my own as well.
Of course, a 30-minute documentary isn’t enough to capture everything we’ve been through, but we wanted to leave a mark, a testament to our presence and to the history of music in western Liguria. There were several emotional moments during filming: sifting through hundreds of photos and recalling the story behind each one—most of them with a smile, and a few others with the bittersweet feeling of no longer having people who were part of our family close by. Every song is a piece of our lives, telling stories, thoughts, joys, and sorrows that have walked alongside us over these decades.”
Here is the link to our documentary:
If you could take a time machine and show the Don’t Stay Blind album or your documentary to the Maurizio and Phil of 1987… what do you think those kids would say to you?
“They would definitely say ‘Great job,’ ‘It’s about time,’ and ‘Awesome work.’ Those kids would laugh, beers in hand, crank the record up to full volume, sing along to the choruses, and get inspired to push toward new frontiers. Because that’s exactly how it went. The mentality has stayed the same, and so has the heart. The kids we used to be still live inside us every single time we play our music.“
Arjen Lucassen reveals, ‘Isolation’ the finale to the spectacular live concert An Amazing Flight Through Time – released today via Music Theories Recordings / Artone Label Group – which celebrates 30 years of Ayreon. The track is a fitting end to an unforgettable night with its enormous ensemble cast – Tommy Karevik (Kamelot), Anneke van Giersbergen, Dino Jelusick (Trans-Siberian Orchestra, Whitesnake), Maggy Luyten, Heather Findlay, Marcela Bovio, Irene Jansen, Wudstik, Damian Wilson (Arena), Mike Mills (Toehider) as well as mastermind, Lucassen himself making an appearance at the end.
Stream/Order HERE Talking about the night and the song, Lucassen says, “The show concluded with the track ‘Isolation’, a personal highlight from the album The Human Equation due to its eclectic mix of styles and the many different emotions. I particularly enjoyed the dynamic interaction between the vocalists, each delivering a magnificent portrayal of their respective characters. The song reached a powerful crescendo when the entire cast joined together for a final a cappella chorus. You can see the pure joy on the faces of the musicians and the crowd alike!” ‘Isolation’ is the final video to be released from the concert, following ‘Loser’, also taken from The Human Equation, ‘Everybody Dies’ from 2017’s The Source and ‘The Year of ‘41’ which was from his Star One project, and featured on 2022’s Revel In Time.
In September 2025, Tilburg, the Netherlands, was transformed into Ayreon City as six spectacular shows took over the 013 venue. All 15,000 tickets were snapped up within minutes, with fans travelling from an astonishing 71 countries to witness the latest Ayreon live experience.
For one unforgettable week, Tilburg lived and breathed Ayreon. On stage, the setlist spanned three decades of Ayreon history—from beloved fan favourites to songs never performed live before —and featured highlights from Arjen Lucassen’s many side projects, woven seamlessly into the experience.
Ayreon’s 30th-anniversary celebration in Tilburg was a unique moment—etched forever into the hearts and minds of those who experienced it live. Now, the wider world will finally have the chance to step into the Ayreon Universe and experience the magic from the comfort of your own home.
The award-winning Danish roots rockin’ octet Thorbjørn Risager & The Black Tornado have revealed the latest slice from their forthcoming live album, with ‘Already Gone,’ which you can listen to HERE.
Originally released on 2025’s album House of Sticks, the song has immediately become a live favourite. The song kicks into life and the band begins to dance beneath the warm glow of their logo.and the tone is immediately set. Talking about it Thorbjørn Risager says, “Already Gone is a classic Thorbjørn Risager & TBT blues rock track with some pretty solid guitar work from Joachim Svensmark. Since we started the release tour it has been the opening song of all our shows. The energy and the groove of the song is just a perfect way to get the band and the crowd in the right mood.”
Set against an Art Deco backdrop, it perfectly suits the smooth, smoky blues of Denmark’s hardest-working band. The show was recorded at their sold-out performance on 29 November 2025, one of the band’s final shows on their House of Sticks winter tour, and saw the band fully flexing their sophisticated might.
“Hotel Cecil has a certain intimacy,” says Risager. “It’s big enough to have power, but still close enough that you can really feel the faces in front of you. That kind of room invites you to dig deeper — both musically and emotionally. There’s a history in places like that. You can feel that many stories have unfolded there.”
Reflecting on the night, he recalls, “I remember a great sense of anticipation backstage — that quiet buzz before you walk on stage. The room felt warm, very present. The audience was listening — really listening — and then when the groove hit, they were right there with us. That exchange of energy is everything.”
The eight-piece band adorned the high stage. The curtains are raised. As the lights are dimmed, the band’s neon logo draws your attention. The drape-flanked room catapults you to another place and another time. That’s where the Danish sensations draw you in.
Thorbjørn Risager (Vocals, Electric Guitar), Emil Balsgaard (Organ, Keys), Joachim Svensmark (Electric Guitar), Kasper Wagner (Baritone Sax), Hans Nybo (Tenor Sax), Peter W Kehl (Trumpet), Søren Bøjgaard (Bass), and Martin Seidelin (Drums, Percussion) – have won four Danish Music Awards (with seven nominations), the “Best Band” in the European Blues Awards and won the prestigious German Preis der Deutschen Schallplattenkritik Jahrespreis – German Record Critics’ Awards. They’ve sold over 100,000 physical albums and surpassed 32 million streams, all the while blazing a trail worldwide with more than 1.500 shows. They’ve opened for Bonnie Raitt, the Tedeschi Trucks Band, jammed with the legendary Buddy Guy and even picked up a fan in Elwood Blues himself – Dan Aykroyd! – who hailed their “Hot rhythm and blues.”
Live At Cecil Hotel proves to be a special moment.” A sold-out show still sends a tingling sensation through a band. “It’s humbling. Truly. We’ve built this step by step over many years, often far from home. To see “Sold Out” means people have chosen to spend their evening with us. That’s not something I take lightly,” he says.
Groundbreaking dark alt-metal visionaries Plague of Angels explore the fragmentation of human connection in the modern world on new single ‘Pangea’. The band’s fifth single is a dark and immersive journey, elevated by a guest solo from metal guitar virtuoso Josh Middleton of Sylosis and accompanied by a powerful, cinematic music video.
The band comment: “‘Pangea’ represents everything we love about Plague of Angels: atmosphere and emotion blended with aggression and heaviness – but for this release, with a much slower and more brooding focus. At its core, the song explores humanity’s increasing disconnection from one another despite living in a more connected world than ever before. Musically, we wanted to capture the tragedy of this theme through dark, haunting melodies, cinematic orchestration, and moments of explosive intensity, constantly shifting between intimacy and power.
“Rather than simply performance-based, we approached the video as an artistic extension of the music, creating something evocative and darkly immersive. We’re also honoured to feature an incredible guest guitar solo from Josh Middleton of Sylosis, whose dynamics and phrasing adds another dimension to the track as it moves towards its emotional climax.”
Plague of Angels first turned heads in 2024 with their debut single, ‘What Lies Beneath‘, and becoming the first metal band ever to perform on BBC’s The One Show. Their breathtaking live performance inside a church, complete with pipe organ accompaniment, earned critical acclaim from The Guardian and The Daily Telegraph, whilst solidifying their reputation as pioneers of “organic metal,” blending classical grandeur with contemporary heaviness.
Their follow-up singles ‘Beyond Salvation’ and ‘Lazarene‘ deepened that vision, showcasing a remarkable range of musical and emotional dynamics.
The band made history once again with a sold-out performance at York Minster, one of the UK’s most iconic cathedrals. The monumental show saw their sound rise through the vast gothic arches of the Minster, merging the sacred and the extreme in a spellbinding display of light, sound and emotion. The event drew widespread national media attention, with coverage across BBC Look North, ITV News and BBC Radio 1, 2, 3, 4, and 6, underscoring Plague of Angels’ reputation as one of the most ambitious and visionary forces in contemporary metal.
The concept of Organic Metal was born from guitarist Mark Mynett’s collaboration with Leeds Cathedral organist David Pipe, an experiment that bridged the sacred and the extreme. The project’s success, covered by local, national and international media, laid the foundations for Plague of Angels, a band devoted to exploring beauty, darkness and transcendence in sound.
Plague of Angels are: Vocals – Emilie Nox (Gravity) Guitar – Mark Mynett (Kill II This) Guitar – Oz Wright (Pythia) Drums – Jeff Singer (Kill II This, Paradise Lost & My Dying Bride) Bass / Piano – Caroline Campbell (formerly Cradle of Filth) Guitar – Richard Shaw (formerly Cradle of Filth) – writing member (non-touring)
On May 31, 2026 reporting for The Metal Voice at this year’s Rock For Ronnie 2026, Neil Turbin (Ex Anthrax) caught up with Wendy Dio, Jeff Pilson, Vinny Appice, and Simon Wright. (and others). The legendary folk shared some fun little known stories from the road, that might surprise you. Watch the video below.
ROCK FOR RONNIE relocated to the south lawn of the Autry Museum for the first time last year where attendees enjoyed the beautiful Griffith Park setting and ample free parking adjacent to the LA Zoo.
Hosted by radio and television personality Eddie Trunk, who is heard on SiriusXM’s 103 Faction Talk channel, the ROCK FOR RONNIE lineup will close with Eddie Trunk’s often surprise-filled All-Star Band.
Dio and Black Sabbath drummer Vinny Appice is joining this year’s participants, among them Phil Demmel (Kerry King, Machine Head), Ricky Warwick (Thin Lizzy Black Star Riders), Robbie Crane (Warrant, Black Star Riders), Julia Lage (Vixen), Dave Moreno (Bruce Dickinson), Keith Nelson (Buckcherry), Marc Ferrari (Keel, Cold Sweat), Marty O’Brien (Daughtry), Mike Dupke (Wednesday 13), Michael Nelson (Thin Lizzy), Neil Turbin (Death Riders, Anthrax), Mike Mangin (The Cult), Robert Sarzo (Hurricane), Shani Kamelman (Iron Maidens), Victor Wichmann (Metalachi) and musicians and sponsor Bill McBride. Artist Meet and Greets will take place throughout the afternoon.
The Ronnie James Dio Stand Up and Shout Cancer Fund (www.diocancerfund.org) was founded in memory of the legendary singer, who lost his life to gastric cancer in 2010. A privately funded 501(c)(3) public charity, the Ronnie James Dio Stand Up and Shout Cancer Fund has raised over $2 million since its inception. Monies raised have been committed to the cancer research work of the T. J. Martell Foundation for Cancer, AIDS and Leukemia Research, the gastric cancer research unit of the M.D. Anderson Cancer Center in Houston, where Ronnie was treated for gastric cancer during the last six months of his life, and other cancer research projects. Since 2016, the Dio Cancer Fund has supported the research of Dr. David Wong and his team at the UCLA School of Dentistry in developing a simple, non-invasive saliva test for the early detection of cancer.
100% of the net proceeds from the ROCK FOR RONNIE will go to the Dio Cancer Fund, which is now in its 16th year of raising awareness and much-needed funding for cancer prevention, education and research for a cure. The organization also hosts the annual BOWL FOR RONNIE Celebrity Bowling Party, this year set for November 12.
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
Metal Shock Finland (World Assault ) 