Warren Haynes and the Asheville Symphony Orchestra, 2019 – Photo credit: David Simchock
GRAMMY® Award-winning vocalist, songwriter, guitar legend, producer, and Gov’t Mule frontman Warren Haynes has revealed “Raven Back Night,” the latest song from his breathtaking new album, Dreams & Songs: A Symphonic Journey. The 16-track collection explores all aspects of his incredible catalogue and career, including music from Gov’t Mule, Allman Brothers Band, The Dead, his solo albums, and more.The album will be released on 18 September and available in Europe via Provogue/Artone Label Group and in the U.S. via Evil Teen Records. You can pre-order/pre-save the album HERE.
The album was recorded in 2019 at the Thomas Wolfe Auditorium in Haynes’ hometown of Asheville, North Carolina. Watching the interplay between Haynes and his band of seasoned rock ‘n’ roll improvisers including Oteil Burbridge on bass, John Medeski on organ and keys, Jeff Sipe on drums, and Greg Osby on saxophone as well as Edwin McCain and Jasmine Muhammad on background vocals along with the 64-piece Asheville Symphony Orchestra is a hypnotic sight to witness.
“Raven Black Night” was originally released on the 1998 Gov’t Mule album, Dose. Talking about taking a new approach to the song, Haynes says. “I had come up with this arrangement that went from Raven Black Night into Silent Scream Pt.2, back into Raven Black Night. The way those two things married together is really cool, and the way the orchestra kind of accepted that challenge was really amazing. I think those two songs, the way they work together, kind of lend themselves to orchestration, in some ways, more than anything else on this recording.” He continues, “They sound like the orchestration completes the thought. Y’know, the orchestration kind of sounds like part of the composition, which is a tall order and very high praise indeed. I love the arrangement for that piece, and I really enjoyed singing Raven Black Night in that light. Because, y’know, the original recording had no drums and was very stripped-down. It had a little percussion thing in the middle and no bass. Whereas this arrangement is just full-bodied, full orchestration, the opposite of the original recording, and it really takes it to a place that completes it and turns it into another thing.”
Talking about the idea behind the concert, he says, “Growing up in Asheville, North Carolina, every creative artist walked in the comfortable shadow of author Thomas Wolfe, Asheville’s most famous native son. I was no exception. Although I was familiar with some of his work—mostly Look Homeward, Angel, like everyone else—I was 38 years old when I finally read his masterpiece You Can’t Go Home Again.” He adds, “As an Ashevillian who had found himself living in New York, I was obviously balancing the same two worlds—albeit many decades later. And although You Can’t Go Home Again was published the year my dad was born, it connected with me in a way I wasn’t prepared for. I was traveling to a lot of the same places he references, both at home and abroad, and running in similarly dissimilar circles, all the while second-guessing some of the choices made along the way, as any 38-year-old would. More than a decade later, when I wrote the song “Dreams & Songs,” from which this project takes its title, it would in some ways pay tribute to this experience and connection.” Haynes will bring his acclaimed Dreams & Songs Symphonic Experience show to Nashville next year for two nights at the Schermerhorn Symphony Center with the Nashville Symphony on Thursday, March 11 and Friday, March 12, 2027, presented by Lightning 100. He will be joined by musicians John Medeski, Kevin Scott, Terence Higgins and Greg Osby, along with vocalists Saundra Williams and Mayteana Morales, all led by conductor Rich Daniels from the Chicago City Lights Orchestra.
Until then, Warren Haynes will be busy on the road with his bandmates in Gov’t Mule. The revered GRAMMY-nominated quintet is touring this summer including a co-headlining trek with longtime friend and blues-rock titan Joe Bonamassa, travelling all over the U.S. from July 22nd through August 23rd. Afterwards, Gov’t Mule will head out on the newly announced Dreaming The Same Dream Tour with Ziggy Marley in the fall. The 16-date co-headlining outing, also featuring a guest DJ set from YOLA, kicks off September 23rd in New York City and wraps October 17th in Dallas.
Dreams & Songs Track Listing: 1. Dreams and Songs (Part One) 2. Dreams 3. Banks of the Deep End 4. Spots of Time 5. Broken Promised Land 6. Thorazine Shuffle 7. Makes No Difference 8. Terrapin Station 9. Raven Black Night 10. Just Another Rider 11. Black Peter 12. Instrumental Illness 13. One 14. Shakedown Street 15. Whipping Post 16. Dreams and Songs (Reprise)
Necrodeath Drummer PESO has revealed the special guests on his project PESO666‘s upcoming album:
Here’s a list of my super special guests who will be featured in the album I’m currently finishing with the supervision of Pier Gonella as producer:
Mantas (The father of black metal), Luca Masperone , Eric Forrest (E-Force & Voivod), Valentina Rose , Alessio Medici (Violentor), Jennifer McDermott, Stefano Rumich (Sinister/Kryptonomicon), Oscar Morchio (ex Desecrate – Zorn), Michael Amott (Arch enemy), Zanna (ex-Sadist-Raza de odio), Daniele Piredda (Dohlmen), Adrie Kloosterwaard (Sinister), Sibylle Colin-Tocquaine (Witches), Manuel Merigo (Insidia), Brogi (Messiah), Ciardo (Delirium X Tremens), Steva (Deathless Legacy) and the extraordinary participation of my nephew Elias !!!!!
Recently Peso shared about his new project: December 27th, 2025, is a date I will always carry in my heart. It was the last live show by Necrodeath, the band that has been my life for the last 40 years. On January 1st, 2026, I felt the need to close myself in the studio for all these months to compose new songs, trying my hand on the bass and even vocals, something I had never done before, thus giving life to my new solo project: PESO666 Stay tuned…. (Marco “peso” Pesenti)
Brooklyn-based noise rock/punk outsiders FOREIGN BODY will release their gnarled second LP, Libertine, through Brutal Panda Records on 11th September. Today they reveal their scathing new song, ‘Trophy’.
Libertine will be released on coloured vinyl LP, CS, CD, and digital format. Pre-orders are now live at the Brutal Panda webshop and Bandcamp, and digital presaves are available here.
The raucous new video for ‘Trophy’ was directed by FOREIGN BODY bassist Thomas Koenig.
FOREIGN BODY play raw, hideous, and vulgar music emblematic of the seedy underbelly of yesterday’s New York City – where sex workers walked the streets freely, rubble and decay were prevalent, drugs were readily available, and every businessman’s briefcase contained a loaded gun. The quartet spin jet-black yarns that polite society would rather have swept under the rug, soundtracking them with jaw-clenching and furious mid-tempo punk exploding with fresh ideas. And even though FOREIGN BODY drip with a loathsome mix of hatred for modern living and a desire for its immolation, they’re also one of music’s most promising faces.
FOREIGN BODY’s new album Libertine is a wholly relentless listen with unflinching portrayals of vice, perversions and glorified excesses. The album was recorded by Matt Russell (REZN, Oozing Wound, Big Laugh), mixed and mastered at STR in San Diego by Matt Ibarra of Rectal Hygienics, and completed with artwork by vocalist Hugh Potter. This is a must-hear record for fans of Brainbombs, Couch Slut, Rectal Hygenics, Unsane, Chat Pile, The Birthday Party, Flipper, Big Black, and labelmates Intercourse.
The band reveal, “The notion of Libertine is the idea of an individual, usually people with a lot of wealth that have the capacity to act upon their desires to the fullest extent. It’s an investigation of that idea to its farthest, impossible conclusion, within literature and a modern context.”
Libertine tracklisting: 1. Strung Out 2. White Lord of Hell 3. Passed Around 4. Hind Legs 5. Trophy 6. When Sex Is Not Enough 7. Man Was Meant To Take Advantage 8. Born For This 9. Libertines 10. Beauty is a Hammer
FOREIGN BODY will be touring USA in September. Expect additional live updates as the record’s release draws near.
Tour dates: 7/17 Love City Manayunk – Philadelphia, PA w/ PLQ MRX 09/18 McDuffs – Philadelphia, PA 09/19 Preserving Shows – Pittsburgh, PA 09/20 The Brass Rail – Ft. Wayne, IN 09/21 TBA – St. Louis, MO 09/22 Backline At Avondale Music Hall – Chicago, IL 09/23 TBA – Indianapolis, IN 09/24 Portal – Louisville, KY 09/25 TBA – Columbus, OH 09/26 Pie Shop – Washington, DC
FOREIGN BODY are: Hugh Potter – vocals, saxophone Nikolai Kapetan – guitar Collin Melazzo – drums Thomas Koenig – bass
Back in March, Kentucky sweethearts BLACK STONE CHERRY released their brand new 7-track EP Celebrate, via Mascot Records. The record spawned hard-rocking singles ‘Neon Eyes‘, ‘Celebrate‘, a cover of Simple Minds’ ‘Don’t You (Forget About Me)‘ ft. Theory Of A Deadman’s Tyler Connolly, and the vulnerable focus track ‘DEEP‘, which saw BSC team up with Sands, the UK charity saving babies’ lives and supporting bereaved families.
Now that same track has been given an even more movingly haunting edge with the release of ‘DEEP (Acoustic)’, in the wake of fans’ reception and their support of guitarist Ben Wells’ and his wife’s fertility journey and experience with miscarriage. Last week, he shared a powerful spoken-word video with the charity to help raise awareness. You can watch the incredibly affecting video via their social media channels HERE and HERE.
Ben Wells expands: “We are so happy to release this intimate version of an already deeply personal song. I think stripping it back, and adding in the layers of mandolin, dobro, and slide guitar, add to its emotion and convey its message in a very unique way. We hope you enjoy this version as much as we did creating it.
He continues: “To be honest, I never imagined I would be writing something like this, but in an effort to be fully transparent, just like our song ‘DEEP’, here we are, and I’m truly thankful that an organisation like Sands exists to help heal and guide those of us who have experienced something tragic like this, and can assist in being a lighthouse in a storm and help direct our hearts to a healing place.”
Rowena Pailing, Sands’ Director of Bereavement Support Services, Community and Volunteering, expands: “We’re so grateful to Ben for highlighting his experience of miscarriage in this song, and for being so open about his emotions, which we hope encourages others to do the same. Talking about pregnancy loss or the death of a baby can feel very difficult, both for bereaved parents and for those around them, but finding the right words at the right time can really help bereaved parents and families feel supported when they need it most.”
Sands is here to support everyone touched by pregnancy or baby loss and offer many types of support, including a free, confidential telephone helpline, email support, and online group sessions. For more information, visit www.sands.org.uk.
Over the past two decades,BLACK STONE CHERRY have grown into a true live powerhouse, winning over audiences worldwide. In the UK alone, they’ve shared stages with rock heavyweights including Def Leppard, Lynyrd Skynyrd, Shinedown, Halestorm, The Darkness, and Bad Company. Their festival credentials are equally impressive – headlining Ramblin’ Man Fair twice (2016 and 2019), topping the bill at Steelhouse in 2023, and delivering standout performances at Download. Alongside these milestones, they’ve undertaken multiple UK headline tours, from arenas to intimate theatres – even a castle – proving both their versatility and the remarkable bond they share with their fans. The extensive dates in 2026 are not to be missed.
No matter what shape his muse takes, Tor-Helge Skei remains both one of the most consistent and surprising talents in extreme music. As a founding member of the critically acclaimed Manes and Lethe, the Norwegian multi-instrumentalist and producer has pushed the boundaries of metal and electronic music. Now, with his latest experiment, he’s expanding his vision like never before. While it spans an impressive range of genres and features many celebrated collaborators, Holissstik achieves something even greater than its individual accomplishments.
“This Endless Solitude” equates to an unfathomably nuanced recurring lucid dream”, New Noise wrote upon the announcement of Holissstik’s debut album, which is also the first in a trilogy. “[…] haunting to the utmost degree by virtue of its funereal darkness, juxtaposed with tempting yet uncanny luminescence”.
Today, Holissstik are releasing the second advanced single from Chapter 1: This Endless Solitude. While scarred by past misgivings, by bearing its tortured soul, “Would You Take This Heart” reveals the collective spirit that makes Skei and his collaborators such a unified force.
“Collaboration is the heart and soul of Holissstik”, Skei says. “‘Would You Take This Heart’ was originally a simple, slow, ambient instrumental. But, as is often the case, the song evolved, unplanned and uncontrolled. As more and more collaborators added their parts, it became heavier and heavier, darker and darker”.
As one could reasonably expect, This Endless Solitude began in 2024 with Tor-Helge Skei alone at his studio in Norway, revisiting unfinished songs from previous projects. The album’s latest single opens with slow and ominous synths, like a ghost emerging from someone’s buried past. Over the following years, Skei salvaged bits and pieces of old recordings while building new components from scratch using his curious collection of recording software and homemade plug-ins. Though soft to its core, “Would You Take This Heart” pleads its case with hammering drums, industrial guitar and the hypnotic chant of Paritta monks.
Skei’s approach to production is still hands-on, but he’s invited outside influences to take control over Holissstik. “After I finished the initial sketches for these songs, I wanted to hear where other people would take with them without being given any rules, limitations or restrictions”, he says. “Would You Take This Heart” features his current and former Manes bandmates Eivind Fjøseide and Tor-Arne Helgesen, new collaborators in Stig Waltoft and Trond Johansen and a familiar face in Rage of Light’s Martyna Halas. “Hold it gently / In the palm of your hands”, Halas sings with a voice that’s as rich and pure as gold. It’s not a suggestion but an invitation to become something greater than ourselves.
“Holissstik became my sanctuary, a place where my deepest, darkest and most intimate emotions could finally find release”, Halas says. “It’s fascinating how creators from different parts of the world express the same feeling through their own perspectives. Each holds a piece of the puzzle, moving toward a shared sense of wholeness. I’m deeply grateful to contribute a piece of my heart and soul to this unique project”.
“With Hollissstik, we’ve built something that transcends traditional metal by focusing on the ‘holos’ – the beauty of the complete, interconnected whole”, says Helgesen, who contributes drums to “Would You Take This Heart”.
Fjøseide, who contributes guitar to the song, agrees. “Skei and I have worked together on music for more than 30 years. Together, we have a special chemical musical reaction that makes things very exciting”.
From the tireless genius Tor-Helge Skei, a radically innovative new force, Holissstik, has emerged. The latest project from the Norwegian mainstay, multi-instrumentalist and producer is his most expansive yet. While it dwells deep within the darkness of our lives, Chapter I:This Endless Solitude, the first chapter in a trilogy of albums, finds salvation through the spirit of collaboration.
“The inspiration for Holissstik comes from the Greek word Hólos, which is the root for the English word ‘whole’”, Skei says. “Collaboration is the heart and soul of this project. The idea is that each part cannot exist or be understood when separated from the whole. The sum is greater than its parts”.
As the driving force behind Trondheim’s legendary Manes, Skei quickly established himself in the ’90s as one of black metal’s key pioneers. With the release of Manes’ classic album Vilosophe (2003), the powerhouse then metamorphosed into an equally magnificent genre-defying entity. Over the years, Skei has only continued to build upon his legacy as an unsurpassed sonic adventurer. He’s received acclaim for his achievements with various outfits, including Lethe, his duo with ex-Eluveitie and Cellar Darling’s beloved songstress Anna Murphy; the international supergroup Høstsol; the veterans Atrox; the brutal metallers Manii and Syning; the wildly experimental Kkoagulaa and more.
Even for the absurdly ambitious Skei, Holissstik represents a Herculean feat. While Skei serves as Holissstik’s composer and captain, the project operates as a revolving door for top-notch talents from across the world. Holissstik’s art can only leave those fortunate enough to be touched by its unshakable audial spells in states of utter speechlessness. This vessel of change cannot be defined; for it rattles the foundations of all we think we know about music while also redefining itself, constantly venturing further out into unknown territories. Holissstik is more sinister than extreme metal and potentially more healing than any New Age practice; this is timeless music without any artistic limitations. As Skei’s longtime accomplice in Manes and award-winning filmmaker Torstein Parelius wrote, “Turn away from the boundaries you create”.
Holissstik truly came into being in 2024 when Skei resolutely decided to initiate the arduous alchemical process of producing order from chaos. Skei is an astoundingly prolific creator whose vast archive of used and unused recordings seems endless. Parelius has remarked that the material from Manes’ past tends to “haunt” the band insofar as it is frequently incorporated in the present. This applies to Skei’s other efforts as well, and, for Holissstik, the visionary meticulously labored on sketches dating a decade or more back, giving them new life, details and twists. Meanwhile, he crafted others from scratch. Eventually, Skei narrowed the selection for This Endless Solitude down to eight mostly instrumental compositions with samples and some old vocal fragments. These tracks already sounded complete and irreproachable in their own right. Each of these interconnected, maximally hypnotic, seamlessly flowing and sometimes mercurial gems emanated its own unique, indefinable brand of magic, far beyond comparison and yet stamped with Skei’s instantly recognizable trademark.
Then, Skei did the unthinkable. He took the leap of faith he had been planning on and invited a flood of collaborators — big names, rising stars and underground legends — to assert their creative freedom on This Endless Solitude by adding individualistic touches on vocals, lyrics and various instruments. “After sketching these songs, I asked my collaborators to do their own thing with them. The only hint that I gave was the music would use minor chords, be melancholic and introspective and that the lyrics would be concerned with the darker side of life and death. But I gave them no rules, no limitations or restrictions”.
The chances of such a risky move actually succeeding seemed minuscule. Yet, the broadest pool of characters rose to the challenge, sharing their pain, anxieties, raw passion, wisdom, strength, refinement, grace and communal will to create pure art through This Endless Solitude. The roughly twenty guests on the album generously gave the music just what they believed it called upon them to express without holding back, thereby exceeding expectations and precipitating drastic transformation. Although Skei had temporarily surrendered control, he took matters firmly into his hands again as the contributions began trickling his way over the months that followed.
“As the collaborators submitted their contributions, I worked on shaping This Endless Solitude into a coherent whole”, Skei says. “It was quite an intense process in itself. But the end result more than made up for the doubts that surfaced”.
Skei is nothing short of a sorcerer when it comes to producing, engineering and arranging. His approaches may be unconventional, but no one achieves mixes and overall outcomes that more powerfully tug at our heartstrings, though we must acknowledge that the aforementioned Anna Murphy has also provided mixes of the highest caliber for Manes. Bit by bit, Skei would sculpt Holissstik’s first chapter to perfection. Worlds open, worlds collide; the spectral voices began twining around each other, a wealth of musical ideas and the said samples with seemingly supernatural effect, clawing their way into a permanent position within listeners’ psyches. While remaining true to their essences, the compositions would evolve in the exact manner of a living organism, in unforeseen and thrilling ways until they reached the point at which further modification would prove folly; ultimately, the miraculously cohesive This Endless Solitude assumed the form that seemed destined. It was then entrusted to Skei’s go-to choice for mastering Knut Prytz (ex-Necrophagia).
The result of This Endless Solitude and that which lies ahead is phantasmagorical wonder, lethal beauty and boundless darkness. Holissstik’s delirium-inducing, absinthine potions threaten to profoundly transform, and perhaps even transfigure, listeners; Holissstik equates to an unfathomably rewarding drug, though it will emotionally overload sentient beings. There is no denying the dangerous spiritual intensity within Holissstik’s hallucinatory soundscapes — dreams that bring audiences to and from the abysmal realm of nightmares. Impregnated with cerebral and poetic qualities, Holissstik provides a cinematic journey, repeatedly invoking primal horror and forever hooking us with suspenseful energy. The mystery of what the music communicates often gives way to melancholic meditations. We never pierce the veil of enigma surrounding Holissstik, rather we drown in the layers of sound, dragging us down into the scandal-infested depths of our own heavy consciousnesses. Holissstik bears parallels to classical music in terms of its inward impact and transcendent nature.
Stylistically, many will perceive elements of nearly every genre under the sun within This Endless Solitude: jazz, trip hop, rock, metal, ambient, avant-garde, pop. However, trying to attach labels to Holissstik would be foolishness. Electronics are superbly implemented within Holissstik, yet the music somehow always retains its organic charm. Skei doubles as a tech wizard, and he twists his expertise in the fields of programming and software development to his advantage for musical purposes. He always strikes the ideal balance between awakening a sense of unbearable loneliness partly by way of technology, frequently amplifying the robotic coldness it can engender, and the human component in all of its sometimes warmly reassuring, mood-driven nuances. Calculation and spontaneity are both accorded their proper place.
This EndlessSolitude proudly showcases artists who have worked with Skei in several other contexts and capacities as well as completely new collaborators. Anna Murphy, a household name within the music community, graces the album with her seductive, otherworldly vocals. Her fellow goddesses, the criminally gifted Marita Hellem and Rage of Light’s Martyna Halas, a masterful lyricist who offers her “heart of pure gold,” likewise deliver some of the most gorgeous vocals imaginable, deranging our senses with their oracular allure. Torstein Parelius, who has always played a crucial role in neo-Manes’ music and concepts, assists on bass and with lyrics.
Besides Hellem, Murphy and Parelius, the other members of Manes’ core and extended family who contribute to Holissstik include Atrox’s Eivind Fjøseide, ex-Atrox’s Tor-Arne Helgesen, The Third and the Mortal’s Rune Hoemsnes, Drontheim’s Tom Christian Engelsøy and Atrox’s Rune Folgerø. Holissstik also welcomed involvement from Kristoffer Oustad of Kristoffer Nyströms Orkester, Plague Machinery and formerly V:28; Christophe Denhez of Område and Ecr.Linf; rapper Pierre Ripka, or “K-rip”; Nik Košar of Kamra; Gabriel Trentini of Luce d’Inverno and Malaflame; rocker and engineering guru Stig Waltoft, a.k.a. “FluffyBunnyFeets”; and Trond Johansen. Not to mention, Buddhist monks were even persuaded to contribute chanting. While This Endless Solitude is mostly in English, it also features Pali, French, Polish and Italian.
Although the very nature of Holissstik demands that we expect the unexpected, the collective’s future certainly seems to guarantee obsidian horizons and torrential deluges of artistic truth. In other words, the project promises to persistently and ritualistically pummel us with devastating yet necessary, epic masterworks. Skei and his collaborators truly present the most immersive experiences possible and, in Manes language, offer a safe place in the unsafe; dive in with your hands bound, and be submerged within the imprisoning brilliance. Skei continues to participate in a range of outstanding groups, and yet Holissstik stands as the most unpredictable and, counterintuitive as it might sound, accessible undertaking in the history of his illustrious career.
Lineup Tor-Helge Skei
Guest musicians Anna Murphy – Vocals on “Obsession Six” Christophe Denhez – Guitars on “The Rhythm of Silence”, Guitars, vocals and lyrics on “Behind Me” Eivind Fjøseide – Guitars on all songs except “Projections” Gabriel Trentini – Vocals and lyrics on “Obsession Six” Kristoffer Oustad – Synth on “The Rhythm of Silence”, “Projections”, “Reoccuring Dreams”, “This Endless Solitude” Tor-Arne Helgesen – Drums on all songs except “Behind Me” and “This Endless Solitude” Marita Hellem – Vocals on “The Rhythm of Silence” and “This Endless Solitude” Martyna Halas – Vocals and lyrics on “The Rhythm of Silence”, “My Salvation”, “Would You Take This Heart” and “This Endless Solitude” Nik Košar – Vocals and lyrics on “Projections” and “Reoccuring Dreams” Pierre Ripka – Vocals and lyrics on “The Rhythm of Silence” Paritta Monks – Chanting on “Would You Take This Heart” Rune Folgerø – Vocals on “This Endless Solitude” Rune Hoemsnes – Drums on “Behind Me” Stig Waltoft – Synth and sounds on “Would You Take This Heart” Tom Engelsøy – Vocals on “Obsession Six” Torstein Parelius – Bass on “Behind Me” and “This Endless Solitude”, lyrics on “This Endless Solitude” Trond Johansen – Guitars on “Would You Take This Heart”
Production credits Recorded, produced and mixed by Tor-Helge Skei Mastered by Knut V. Prytz
Songwriting credits All songwriting and arrangements by Tor-Helge Skei
Ride The Rainbow – The Ultimate Tribute To Ritchie Blackmore’s Rainbow is already with us. But that did not stop Candice Night and Marcus Nand from shooting a video for what has already become one of the most critically acclaimed tracks on the album, as well as the most delicate.
Long time followers of Ritchie’s post-Rainbow Blackmore’s Night will already know that Candice is no stranger to the Rainbow catalog – “Man On The Silver Mountain, “ Difficult To Cure” and “Temple Of The King” have all found a place in Blackmore’s Night’s live show over the years. And no matter who voiced Rainbow’s original, still Night made the song her own.
She’s done it again on Ride The Rainbow. “I Surrender” was first heard on Difficult To Cure, Rainbow’s fifth album (from 1981) and their first to feature vocalist Joe Lynn Turner – who also appears on Ride The Rainbow, alongside both his predecessor in the band, Graham Bonnet, and his successor, Doogie White.
Night and co-conspirator Nand, however, have a very different vision of Rainbow to those others.
Night’s vocals, as mystic and magnificent as they ever are with Blackmore’s Night, offer the song an entire new lease of life – even those among of us who can sing along with every Rainbow song have probably never truly acknowledged the depths of emotion and tenderness that hallmark “I Surrender.”
Seemingly effortlessly, however, Night and Nand bring them sparkling into full view, and the video – which is launched today – only amplifies those qualities.
“It’s always fun shooting videos for a song you love and a project you believe in,” says Candice. “Reinterpreting such a classic song takes some imagination, so with the acoustic guitar of Marcus Nand and the softer approach, it lends perfectly to nature elements.
“Surrounding myself with sun, sand, water and forest elements brings the visuals to the magical elements of the new interpretation for a perfect meeting of audio and visual elements.”
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
