One of the most distinctive and revered forces in rock music, Sweden’s GRAVEYARD have announced October 9th, 2026 as the release date for their highly anticipated seventh studio album, Fever. Three years after the dreamlike haze of much-lauded previous record Six, the band return with a heavier, more direct sound — while still carrying the blues-soaked soul that defined their breakthrough album Hisingen Blues.
GRAVEYARD commented: “Alright folks. Here it is — album number 7. Fever. Haven’t we always had it? The itch, the burn and the restlessness. The urge to push forward into the fog. Even with the teeth of hopelessness snapping at our asses and all the smoke and mirrors of our time telling us we got no future. Come what may. Let’s go!
This time around, we decided to waste no time. No outside producer. No detours. Just GRAVEYARD, straight to the point, doing what we do best. This just might be our greatest album so far! Hope you like it, too.”
The striking artwork for Fever was created by acclaimed Dutch artist Maarten Donders, whose powerful and expressive visual style has been showcased at the renowned cult festival Roadburn. Over the years, Donders has created artwork for more than 50 artists, ranging from Acid King to Frank Zappa.
Handling mixing duties is Pelle Gunnerfeldt, celebrated for capturing the raw intensity of bands such as The Hives and Refused, while more recently working with Viagra Boys.
Fever -tracklist
Back From The Grave
Tongue Tied
A Better Cut (Note To Self)
Year Of The Horse
A Means To An End
Time To Tell
Don’t Shoot!
Room Tempered
Dead Note
Furthermore, GRAVEYARD have confirmed the first leg of their 2026 / 2027 tour with BLUES PILLS. Scroll down for all confirmed shows. Stay tuned for more European dates to be announced!
More exciting news regarding Fever and additional GRAVEYARD live dates will be revealed soon!
GRAVEYARD LIVE:
w/ BLUES PILLS & SKRAECKÖDLAN 31.10. SE Eskilstuna, Lokomotivet * 06.11. SE Mejeriet, Lund * 07.11. DK Århus, Voxhall * 13.11. SE Örebro, Club 700 * 14.11. SE Karlstad, Nöjesfabriken * 20.11. SE Falun, Magasinet * 21.11. SE Norrköping Arbis * 27.11. SE Göteborg, Gothenburg Film Studios ** 28.11. SE Stockholm, Fållan **
When Lemmy initially contacted Pink Fairies guitarist Larry Wallis about forming a new band together, Larry was both astonished and delighted – “It was just as if the serendipity fairy had arrived. Now he was flexing his leathern wings.” In much the same month as Lemmy was relieved from his duties in Hawkwind, the Pink Fairies shattered. The pair got together for a drink, a jam, a dream “It just had to be.”
Larry bought a clutch of his own compositions with him into the band – when the newly christened Motörhead (now joined by drummer and future Pink Fairy Lucas Fox) went into the studio in June 1975 to record their first album, “Vibrator,” “Fools” and the Pink Fairies favorite “City Kids” were all on the schedule. And so was “On Parole,” a lasciviously-grinding stomp that remained in Motörhead’s live repertoire long after Larry and Fox left the band, and followed the guitarist onto the next stage of his career, as the b-side to his first solo single, 1977’s “Police Car.”
A short while after, it was still there as Larry went into London’s Eden Studios with Man guitarist Deke Leonard, Elvis Costello drummer Pete Thomas and bassist Big George Webley to record what could have become his first solo album had Larry not moved on yet again, leaving the tapes incomplete.
Close to 50 years later, June 12 finally brings those sessions out into the world. I’m Not An Archivist, titled for Larry’s explanation whenever he was asked about old tapes, is a lovingly compiled and curated glimpse not only into what the album might have looked like (the occasional guide vocal or instrumental notwithstanding), but also a clutch of out-takes and alternate versions, rounding out the CD in dramatic fashion.
“We went into Eden Studios ready to lay down taped dynamite,” Larry said years later, and I’m Not An Archivist backs him up all the way. Both “Police Car” and “On Parole” were rerecorded, apparently at the new bands express request. “No disrespect to the [musicians who played on] the first versions,” said Larry, “but I was so excited to be working with George, Pete, and Deke in a big studio with unlimited time; how could I say no?”
Released today as the second single from the album (following last month’s “Crying All Night”), this new version of “On Parole” might well be the definitive version of a song that Larry regularly returned to later in his career – how could it not be with Deke Leonard on board as one half of the most adventurous guitar duo of the age?
Yet the album itself bristles with new-to-most-ears joys, from the freshly reupholstered “Police Car” – present as both an instrumental overture and a coruscating set closer; Larry’s personal take on “As Long As The Price Is Right,” a song he had already seen hit the UK chart with Dr Feelgood; the dynamic blueprints for his mid-80s single “Leather Forever”/“Seeing Double”; and a clutch of killer covers.
Wreckless Eric‘s “There Isn’t Anything Else” was transformed from the endearing punky thrash that Larry produced for Eric’s first album, into what verges on a stadium rock monster. George Gershwin‘s “Rhapsody in Blue” traveled in the opposite direction entirely, as “a load of wasted individuals” played the tune, while Webley and Thomas had “what they considered to be a ‘New York Argument’”; and writer/poet Mick Farren’s “Godzilla” rampaged unapologetically through the studio. (Larry later retitled the song, aptly, “I Think It’s Coming Back Again”).
Several of the tracks have appeared on other Cleopatra albums – The Sound of Speed (2017)and Police Car – The Anthology (2024). This, however, is the first time that the full session has been brought together. And its unfinished state means while it’s not quite the album that Larry originally intended it to be. Still in terms of untrammeled energy, unstinting adrenalin and white hot guitar and songwriting, it stands loud and proud alongside any of Larry’s other accomplishments.
Indeed, almost half a century after that week in the studio, it remains as fresh and frenetic as it did as it was being recorded.
1. Police Car Overture (Instrumental) 2. On Parole (Alternate Version) 3. Godzilla 4. As Long As The Price Is Right 5. I Can’t See What It’s Got To Do With Me 6. Seeing Double (Alternate Version) 7. There Isn’t Anything Else (Instrumental) 8. Story Of My Life 9. Crying All Night 10. Leather Forever 11. Rhapsody In Blue (Instrumental) 12. Police Car (Alternate Version) 13. Godzilla (Version 2) [CD ONLY] 14. Crying All Night (Version 2) [CD ONLY] 15. I Can’t See What It’s Got To Do With Me (Version 2) [CD ONLY] 16. As Long As The Price Is Right (Version 2) [CD ONLY] 17. Leather Forever (Version 2) [CD ONLY] 18. Story Of My Life (Version 2) [CD ONLY] 19. Seeing Double (Version 2) [CD ONLY] 20. Rhapsody In Blue (Instrumental) (Version 2) [CD ONLY]
One of progressive rock’s most daring and influential albums, In a Glass House by Gentle Giant returns in a powerful new form, newly remixed and remastered by Grammy Award-winning producer Eber Pinheiro alongside the band’s own Derek Shulman.
Originally released in 1973, In a Glass House stands as a bold artistic statement that pushed the boundaries of composition, musicianship, and studio experimentation. With its intricate arrangements, shifting time signatures, and thought-provoking themes, the album remains a cornerstone of progressive rock and one of Gentle Giant’s most celebrated works. The album features some of the band’s most enduring compositions, including “The Runaway,” “Experience,” and the epic closing title track “In a Glass House.”
For the first time ever, In a Glass House has been newly mixed and made available in both 5.1 surround sound and Dolby Atmos, opening up the album’s dense arrangements and intricate performances in an entirely new way.
“When we made In a Glass House, we were pushing ourselves musically and creatively in every direction,” said Derek Shulman. “Hearing the recordings again and being able to remix them with today’s technology has revealed details and textures that were always there but never fully heard. We wanted to present In a Glass House the way we always hoped it could sound, clearer, more dynamic, and true to the original vision. The detail in the performances really comes through in this new mix.”
“The Dolby Atmos and surround mixes really allow the listener to step inside the music,” Shulman added. “It’s incredibly rewarding to hear the album take on a new life while still staying completely true to what we created in 1973.”
For longtime fans and new listeners alike, this new edition of In a Glass House presents the album with greater power, depth, and transparency than ever before, reaffirming its place as one of the defining recordings of the progressive rock era.
The release will be available in multiple formats, including a standard 180g vinyl LP, limited edition clear vinyl, CD, and a deluxe CD/Blu-ray edition featuring stereo, 5.1 surround sound, and Dolby Atmos mixes.
Finnish progressive metal band Oddland are thrilled to announce the release of their new studio album, “Unilluminate To Illuminate”, out on August 21, 2026, via Frontiers Music Srl.
Having previously released two tracks from the album, “Eternal Erode” and “Freefall”, the band now unleash the new single “Soar”, along with an official video, available below.
They commented: “’Soar’ is a song that tells a story of what happens when there is an absence of a father in your life and, more importantly, how that empty space in your life is filled with images that rise from stories that are told, from images within, and from the needs one experiences growing up. It is a song touching deeply on longing and wanting to hide from the world in shame but also about finding your strength and light within. The video follows the theme of the album, reflecting the interplay of light and shadow.”
Oddland are also set to embark on a handful of tour dates across Europe, the full list of shows can be found below.
Oddland return with their highly anticipated new album “Unilluminate To Illuminate”, reaffirming their status as one of the most innovative and compelling forces in modern progressive metal.
Talking about the record, the band stated: “Unilluminate To Illuminate” reflects the need for polarity in life, the need for darkness in order to find joy in light, and the dance of these qualities that deepen the human experience. In the modern age there is a constant chase for dopamine rushes and shortcuts to euphoria. A constant state of happiness is not only impossible but an unfulfilling and untruthful way to live. There is darkness in all of us like there is light in all of us. And, in order to find your light, you must sometimes deeply explore your darkness. This is what the album aims to reflect in the songs and atmospheres we have created.”
Known for their intricate compositions and fearless approach to songwriting, the band continues to push boundaries while refining their already distinctive sonic identity.
The experience gained while supporting Soen on tour has clearly elevated the band to an even higher level, sharpening their performance edge and strengthening their sense of dynamics and impact. That growth is fully reflected in this new record, which feels more focused, confident, and mature than ever before.
This new album expands Oddland’s complex musical universe with heightened intensity, atmospheric depth, and razor-sharp precision. Shifting seamlessly between crushing heaviness and cinematic expanses, “Unilluminate To Illuminate” showcases a band operating at the peak of their creative powers, delivering a listening experience that is both technically impressive and emotionally resonant.
With a bold sense of dynamics and a strong conceptual undercurrent, the album captures the essence of a band that refuses to stand still. Each track reveals new layers upon repeated listens, blending progressive complexity with memorable themes and a powerful sense of direction.
“Unilluminate To Illuminate” stands as a striking statement from one of the finest names in modern progressive metal – a record that challenges, captivates, and ultimately elevates the listener.
“Unilluminate To Illuminate” Tracklist:
1. Amokinus 2. Eternal Erode 3. Soar 4. Ascent 5. Freefall 6. Unilluminate 7. Illuminate 8. Act Of Solace 9. Red Canvas 10. Unbound In Time 11. Waterdrops
UPCOMING TOUR DATES:
29.08: DK – Næstved @ Næstved Metalfest 04.09: FI – Turku @ Logomo
Split headliner EU tour with Mother Of Millions: 17.09: DE – München @ Feierwerk 18.09: DE – Stuttgart @ Klub Zentral 19.09: NL – Zoetermeer @ Boerderij 20.09: BE – Diest @ Hell 22.09: Tba 23.09: HU – Budapest @ A38 24.09: SK – Bratislava @ Randal Club 25.09: RO – Cluj @ Machines Venue 26.09: RO – Bucharest @ Quantic
Line Up: Sakari Ojanen – Vocals, guitars Joni Palmroth – Bass Ville Viitanen – Drums Jussi Poikonen – guitars
Swedish forest rockers BESVÄRJELSEN drop the first advance single from their third album “Till Glömskan Ad Oblivionem” (Swedish and Latin for: “Into Oblivion”), accompanied by a slightly disturbing music video ‘Didn’t Come to Party‘ about that guy, the one nobody ever wants at their social gathering.
“Till Glömskan Ad Oblivionem” is scheduled for release on August 28, 2026, via Magnetic Eye Records.The album is available for pre-order here: https://spkr.store/collections/besvarjelsen
BESVÄRJELSEN comment: “There’s a scene in the Titanic movie that has always stayed with me, when the musicians keep playing as everything falls apart around them“, vocalist Lea Amling Alazam muses. “This is one of my all-time favorite moments in cinema, because it captures something important about music: the devotion, the need to create, and to hold onto something beautiful, even in the face of disaster. Like, we’re literally going under, but hey, let’s play. Dance to the sirens. In this day and age, it’s hard not to be affected by the chaos of the world. ‘Didn’t Come to Party’ is not a political statement but rather a cry of frustration. We’re living on this incredible planet, so why are we destroying it? Why war, why poverty, why harm the most vulnerable, when we have the resources to make life better for everyone? This quite reminds me of people who show up to parties just to ruin it for everyone else. Why is there such a drive to hurt, to dominate, to tear things apart in the pursuit of power? It’s senseless.“
Tracklist 01. The Greatest Sin 02. Accelerating Hearts 03. Battles 04. Counting Flies 05. Drifters on a Quiet Stream 06. The Mountain 07. Pulse 08. Interlude 09. Didn’t Come to Party 10. Black Wave 11. Oblivion
Swedes are supposed to be cool, and musically, BESVÄRJELSEN sure live up to that stereotype in the best possible way. What the self-proclaimed forest rockers deliver on their third full-length “Till Glömskan Ad Oblivionem” is so cool, in fact, that it’s a hot early candidate for rock album of the year.
The ‘forest rock’ moniker is the Swedes’ tongue-in-cheek answer to the term ‘desert rock’, which stylistically provides a great starting point to describe their particular musical brand. Being surrounded not by an abundance of sand but trees in their home province of Dalarna, it was also an obvious choice. On “Till Glömskan Ad Oblivionem”, BESVÄRJELSEN keep a profound punk-infused attitude, but have broadened their sound with a wide variety of sonic colours including blues, ska, metal, jazz and everything around and in between as long as it fits the mood of the song.
Add exceptional vocalist Lea Amling Alazam, who developed her passion for punk and stoner rock at the local skate park when she was just 13 years old, to the band’s plethora of riveting hooks and riffs, and you get an album that feels fresh and ready to deliver surprises for months if not years to come. If there is any justice, “Till Glömskan Ad Oblivionem” should make BESVÄRJELSEN as famous as the iconic wooden Dala horses that every tourist who visits the country takes home to put on their shelves.
That BESVÄRJELSEN were on the road to greatness became apparent on their previous album, “Atlas” (2022). This record received the prestigious Swedish Manifestgalan Award for “Metal Album of the Year” by the Swedish Independent Music Producers and partners, which crowned a string of excellent reviews around the globe.
BESVÄRJELSEN were co-founded by guitarists and vocalists Andreas Bajer and Staffan Vinrot in 2014. Their musical vision was based on the idea to channel the spirit and traditions of the vast Dalarna forests into a contemporary urban context. On this ancient crossroads of Norse and Finnish cultures, the echoes of runes and gods, shamans and spirits still linger. While drawing heavy inspiration from local lore, mysticism, and the dark, old musical traditions of their homeland, the band name was found in the old Swedish word for “conjuring”: BESVÄRJELSEN.
While the band’s story has its roots in the past of the land, the present came boldly knocking to demand its due. With the discovery of Lea Amling Alazam and her captivating vocals, the plot took a fascinating twist: She had grown up with her feet in more than one world. Accordingly, the charismatic singer added a fresh approach by embracing melodies and phrases of the grunge and emo sounds that defined her youth as well as African and Middle Eastern music with characteristic bluesy undertones.
In 2015, BESVÄRJELSEN released their debut EP “Villfarelser”, followed by the “Exil” EP in 2016. At the time, former DOZER and GREENLEAF drummer Erik Bäckwall joined the line-up as a permanent member. Although both EPs were self-financed and released with minimal promotion, they ended up well-received, and even got airplay on Swedish national radio.
The Swedes’ debut full-length “Vallmo” (2018) merged crushing riffs and storming drums with increasingly sophisticated melodies and thoughtful themes, even earning the band a festival slot opening for DEEP PURPLE. This paved the way for BESVÄRJELSEN to record their sophomore album “Atlas” with producer and drummer Karl Daniel Lidén (GREENLEAF, DOZER, CRIPPLED BLACK PHOENIX) in 2021.
With “Till Glömskan Ad Oblivionem”, BESVÄRJELSEN have conjured ‘Into Oblivion’ twice, in both Swedish and Latin, but the spellbinding five-piece also deliver a cathartic rock album that will rank among the finest heavy releases of the genre and beyond in 2026
Line-up Lea Amling Alazam – vocals Staffan Vinrot – guitars, vocals (& accordion, violin, keys, keyed fiddle) Andreas Bajer – guitars, vocals Erik Bäckwall – drums Marcus Lindqvist – bass
Guest musicians Fred Burman (SATAN TAKES A HOLIDAY) – lead & backing vocals on ‘Accelerating Hearts’ & backing vocals on ‘Didn’t Come to Party’ Pelle Andersson (LOWRIDER) – organ on ‘Black Wave’
Recorded by Andreas Baier & Marcus Lindqvist at Glashuset, Ludvika (SE) Mix & mastering by Karl Daniel Lidén at Tri-Lamb Audio Studios, Solna (SE)
Norwegian artist CHRIS WICKED returns with a dark and atmospheric reinterpretation of the iconic ‘Enjoy the Silence’ — originally immortalized by Depeche Mode.
Blending gothic melancholy, cinematic textures and alternative rock energy, Chris Wicked breathes new life into one of the most beloved synth-driven songs of all time. The result is a version that honours the original while simultaneously transforming it into something darker, heavier and deeply emotional.
“Enjoy the Silence has always been a song that resonated with me. The atmosphere, the sense of longing and the timeless darkness within the melody have inspired me since I was young. We didn’t want to copy the original — we wanted to reinterpret it through own musical universe,” says Chris Wicked.
The release follows an intense period for the artist, who recently concluded the 20th anniversary celebration of Malice In Wonderland with the acclaimed single “Dying Breed.” In recent years, Chris Wicked has embraced an increasingly darker and more cinematic sound, drawing inspiration from artists such as Nick Cave, Paradise Lost, The Sisters of Mercy and of course Depeche Mode.
This new version of “Enjoy the Silence” combines haunting synth landscapes, pulsating rhythms and Chris Wicked’s unmistakable vocal style, resulting in a release that feels both nostalgic and modern at the same time.
Chris Wicked is best known as the frontman of Malice In Wonderland, a band that gained international attention during the 2000s with their unique blend of glam, goth and hard rock. In recent years, he has focused on darker and more personal solo material, where cinematic goth, dark wave and alternative rock take center stage.
Details: City: Bergen Country: Norway Artist: Chris Wicked Single title: Enjoy The Silence Release date: September 02, 2026 Record label: Raven Black Productions
Description: A cover song of Depeche Mode’s “Enjoy The Silence” is the third single from the upcoming EP “Black Horns & Black Hooves”.
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 ) 