British blues-rock artist Joanne Shaw Taylor returns today with her latest single, “The Trouble With Love,” out now via Journeyman Records, alongside an accompanying official music video. The track stands as one of Joanne’s most emotionally resonant releases to date, capturing the intensity, contradiction, and addictive nature of love in all its forms.
Built around a driving groove and lifted by Joanne’s signature guitar tone, “The Trouble With Love” moves between tension and release, mirroring the emotional push and pull at the heart of the song. Her soulful vocal performance carries the weight of that experience, while the arrangement builds into soaring moments that underline both the beauty and chaos that love can bring.
“I always had this song as the heart of the album,” Joanne shares. “Love is such a powerful emotion that we’ve been writing songs about it for hundreds of years. For this song I wanted to try and document the push and pull of it, the highs and the lows. And yes, the trouble it can cause.”
Anchored by a memorable hook and elevated by Joanne’s searing guitar work, the track balances introspection with energy, turning a deeply personal theme into something universally relatable. The accompanying video further brings that tension to life, visually capturing the emotional cycle that defines the song.
“The Trouble With Love” arrives as the latest preview of Joanne’s forthcoming studio album, due out later this year. It follows recent singles including the defiant blues-gospel anthem “Hell Or High Water” and the collaborative standout “What Good Is My Love?” featuring Orianthi. Together, these songs point toward a body of work that continues to expand Joanne’s sound while staying rooted in the emotional honesty that defines her songwriting.
The upcoming album builds on the momentum of Joanne’s critically acclaimed Black & Gold, which drew widespread praise upon its release. Classic Rock awarded the album a 9/10 rating, while Powerplay Magazine highlighted its “pop appeal and smoothness.”
Guitarist Magazine noted that it “reinforces Joanne’s place in the firmament of today’s brightest stars,” and American Blues Scene called it “a deeply personal experience, showcasing the depth of Joanne’s artistry.” Together with the Black & Gold (Deluxe Edition) and a run of acoustic reinterpretations, the album marked a defining chapter in Joanne’s career.
The new single arrives as Joanne continues her Spring 2026 U.S. Headline Tour, now in its final stretch. The remaining dates will bring her electrifying live show through the Southeast, with upcoming stops in Greenville, SC, Cornelius, NC, Orlando, FL, West Palm Beach, and Ponte Vedra, before wrapping with a sold-out appearance at Sound Wave Beach Weekend in Miramar Beach. Known for her commanding stage presence, fiery guitar work, and emotionally immersive performances, Joanne continues to captivate audiences with a set that blends new material with fan favourites from across her catalogue.
April 3 – Greenville, SC – Peace Center April 4 – Cornelius, NC – Cain Center for the Arts April 7 – Orlando, FL – The Plaza Live April 9 – West Palm Beach, FL – Kravis Center for the Performing Arts April 10 – Ponte Vedra, FL – Ponte Vedra Concert Hall April 10–12 – Miramar Beach, FL – Sound Wave Beach Weekend + +Sold Out
Spring Europe Tour Dates
May 23 – Peer, BE – Blues Peer Festival May 24 – Schöppingen, DE – International Blues Festival Schöppingen May 25 – Raalte, NL – Ribs & Blues Festival May 27 – Hannover, DE – Pavillon Hannover May 28 – Nuremberg, DE – Lowensaal May 29 – Eindhoven, NL – BRIDGE Guitar Festival Eindhoven
Summer U.S. Festival Dates
June 27 – San Jose, CA – San Jose Fountain Blues & Brews Festival July 11 – Honesdale, PA – Dorflinger-Suydam Wildflower Concert Series July 25 – Fargo, ND – Fargo Blues Festival
Emotion Factory Reset is the upcoming album from heavy metal band ARMORED SAINT, scheduled for release on May 22, 2026, through Metal Blade Records. The album features 11 tracks, including “Close to the Bone” and “Every Man-Any Man,” and is available as a limited edition, hand-numbered Citrine vinyl.
Armored Saint – Emotion Factory Reset (New-Citrine Vinyl, 2026) *Hand-Numbered Only 300!
Artist: Armored Saint Album Title: Emotion Factory Reset Label: Metal Blade Records Edition: Hand-numbered Boone’s Overstock Exclusive Format: Vinyl LP Citrine Color (300 units) Prod ID: 162034 UPC: 039841620344 Release Date: 5/22/2026
KEY COLLECTOR DETAILS
Armored Saint’s previous studio offering Punching The Sky, was released in 2020. The critically lauded full-length hit worldwide record charts including #4 on Billboard’s Current Hard Music Albums chart, #6 on the Top New Artists chart, #16 on the Top Independent Albums chart, and #17 on the Current Rock Albums
Armored Saint, leaders and stalwarts of the American heavy metal scene since the early 80s are back with their highly anticipated 9th full-length release “Emotion Factory Reset”
Produced by Joey Vera
Mixed by Jay Ruston
Mastered by Paul Logus, PLX Mastering
Engineered by Oliver Roman, Bill Metoyer, Joey Vera, Jason Constantine
ABOUT THE ALBUM Armored Saint return in 2026 with Emotion Factory Reset—their long-awaited ninth studio album and a powerful follow-up to 2020’s Punching the Sky, which stormed the charts and proved the band is still firing on all cylinders decades into their career.
True to form, Armored Saint refuse to repeat themselves. Emotion Factory Reset captures a band that continues to evolve while staying rooted in the heavy metal foundation they helped build in the early ’80s. The result is an album that feels both classic and forward-moving—driven by sharp songwriting, dynamic arrangements, and the unmistakable voice of John Bush leading the charge.
Tracks like “Close to the Bone,” “Every Man-Any Man,” and “Hit a Moonshot” showcase everything that makes Armored Saint essential: powerful riffs, groove-driven rhythms, and a willingness to push beyond traditional metal boundaries. There’s a confidence here—honed over decades—that allows the band to experiment without ever losing their identity.
Produced by bassist Joey Vera and brought to life by a top-tier production team, Emotion Factory Reset delivers a modern, punchy sound while preserving the grit and authenticity longtime fans expect. Lyrically, the album explores perspective, resilience, and clarity in a chaotic world—inviting listeners to reflect without preaching, and leaving space for their own interpretation.
This Boone’s Overstock exclusive edition is pressed on Citrine-colored vinyl and limited to just 300 hand-numbered copies, making it a must-have for collectors and diehard fans alike.
Armored Saint aren’t chasing the past—they’re building on it. And Emotion Factory Reset proves they’re still one of the most vital forces in American heavy metal.
We’re gradually approaching the release of 30 DENARI‘s debut album, “Kindly Plotting For Riot”, an album that will undoubtedly write an exciting chapter in the history of Post-Punk and New Wave in the Italian music scene. The chosen track is “Traitor” which features special guest Federica Lee Querizia Garenna (Les Long Adieux).
The song moves between post-punk and new wave with deep, pulsating bass lines, sharp guitars, driving rhythms, and an interplay between Crez’s tense vocals and Federica Lee Querizia Garenna’s evocative interpretation. The result is an emotional contrast that amplifies the sense of conflict and venomous seduction, creating an intense, direct, and profoundly human song. “Traitor” is a fierce confession, a letter written metaphorically in blood, portraying betrayal in its most intimate form: the one born within relationships of trust and affection.
“Kindly Plotting For Riot” will be released on April 24th. Expect a visceral journey, almost a hypnotic and cutting ritual, able of combining mechanical impulses and emotional tension. The music has its roots in the Post-Punk and New Wave scene (Joy Division, Bauhaus, Killing Joke, Coil, Gary Numan) and in more contemporary visions such as Nine Inch Nails, Editors, and Chelsea Wolfe, but it also pays homage to the Italian PUNK and POST-PUNK scene represented by Negazione, Kina, Franti, Diaframma, Disciplinatha, and Limbo / Pankow.
Had Green Carnation never returned from hiatus, the Norwegian prog bards would always be remembered for completing one of metal’s most ambitious individual epics. However, there was one tale – or three, to be exact – that eluded them for more than three decades, until last year. Now, after reaching crushing new highs on Part I of their forthcoming album trilogy, the band are descending into the deepest, darkest and most personal depths of their storied career with A Dark Poem, Part II: Sanguis.
“Sanguis is lean, purposeful, and emotionally devastating in the way only music built from genuine anguish can be”, Sonic Perspectives writes in an 8.8/10 review. “Green Carnation have distilled their identity down to something sharper and more potent than ever”.
“The band’s dark, sweeping brand of sad prog metal is fully bloomed here, braiding together moments of aching intimacy and fiery grandeur”, Invisible Oranges writes.
“When it comes to progressive metal that’s particularly somber, eloquent and rustic, few bands do it better than Norway’s Green Carnation”, Loudwiresays in an interview about Sanguis with the band’s vocalist Kjetil Nordhus and bassist/primary lyricist Stein Roger Sordal.
A Dark Poem, Part II: Sanguis was released yesterday, Friday, April 3 on Season of Mist, and you can hear all six heart-wrenching songs by listening to the full album stream:
“Sanguis invites listeners into our darkest inner rooms with some of the most raw and vulnerable songs that we’ve ever written”, Nordhus says.
“The lyrics are so personal that I had to go many rounds with myself over whether or not to tone them down”, says Sordal. “In the end, I chose to keep them as honest as possible”.
If The Shores of Melancholia set sail from a familiar place of melancholy, then Sanguis opens with Green Carnation far out at sea, fighting to stay afloat against the storm that’s raging in their minds. Over the course of nine minutes, the album’s epic title track vows to forgive and forget familial wreckage, washing away the bloody stains of the past with impassioned cleans and a chorus that radiates conviction — only for a traumatic memory to come flooding back during its doomy coda.
“Father was boiling, mother was crying / The children left scared in their beds”. A fiery shiver of a riff slowly spirals downward, as if trapped inside a mental hell.
“It paints a pretty grim picture of my childhood”, Sordal says about “Sanguis”. “I do have great memories from that time, too, but parts were very dark. I had some tough issues with my father, but I now know that he had it worse. I didn’t think about that when I was younger, but as I’ve gotten older, I’ve learned that there is usually more to the story”.
“It took Stein Roger almost 50 years to understand why his father treated him the way he did”, Nordhus says about his dear bandmate. “He didn’t understand until he had kids of his own and was watching them grow up”.
The newfound heaviness from the Part I of A Dark Poem continues to age like a fine wine, balancing sweet meaty riffs with an underlying bitterness. “I Am Time” demands immediate recognition with a guitar melody that winds like the winds of change, while “Fire In Ice” stokes the political flames viewed from The Shores of Melancholia with pounding chills of double bass. But Sanguis reveals the band at their most raw with ballads that unfold with the grace of a wilted flower.
“The end justifies the means, you’ll see”, Kjetil Nordhus sings with an eerily quiet confidence on album closer “Lunar Tale”. As the song seeps beneath the moonlight, Sanguis leaves fans hanging in suspense over where this trilogy will end.
Tracklist 1. Sanguis (9:05) [WATCH] 2. Loneliness Untold, Loneliness Unfold (4:04) 3. Sweet to the Point of Bitter (5:58) 4. I Am Time (5:39) [LISTEN] 5. Fire in Ice (7:03) 6. Lunar Tale (5:25) Full runtime: 37:16
Catch Green Carnation during their upcoming hometown shows and European summer festival dates. During their headlining show in September at the Kilden Performing Arts Centre, the band will perform A Dark Poem in its entirety for the first and final time – including the as-of-yet unannounced Part III. Already, fans from 18 different countries have purchased tickets for this once-in-a-lifetime event.
Green Carnation 2026 Show Dates June 6 – Tampere, Finland @ Ankea Festival [TICKETS] June 14 – Kristiansand, Norway @ Odderøya [Tickets]* August 1 – Ungarn, Hungary @ Feke Zaj Festival [TICKETS] September 12 – Kristiansand, Norway @ Kilden Performing Arts Centre [TICKETS]# *Deep Purple, Turbonegro + Slomosa #Performing A Dark Poem, Part 1-III
No matter how long or where the journey has taken them, Green Carnation have never been afraid of a challenge. After reaching crushing new highs during the grand and gloomy opening chapter to their long-awaited album trilogy, the Norwegian prog bards are descending into deeper, darker and more personal depths with Part II of A Dark Poem.
“We wanted A Dark Poem to start off with guns blazing. Judging by the reaction, The Shores of Melancholia was successful in doing that”, the band’s vocalist Kjetil Nordhus says. “But for Part II, we have some very personal stories that we want people to hear. Sanguis invites listeners into our darkest inner rooms with some of the most raw and vulnerable songs that we’ve ever written”.
“The second part of A Dark Poem holds some of the most personal lyrics that I’ve ever written”, says Stein Roger Sordal, the band’s bassist and primary lyricist. “The lyrics are so personal that I had to go many rounds with myself over whether or not to tone them down. In the end, I chose to keep them as honest as possible. I mean, am getting older and I do have some life experience to back them up”.
Founded in the early ‘90s by Emperor’s original bassist Tchort, Green Carnation amassed a cult following behind critical acclaim for Light of Day, Day of Darkness, an album containing a single hour-long song that still resonates as one of the most ambitious epics in metal’s archives. Current members Bjørn Harstad (guitar), Stein Roger Sordal (bass) and Endre Kirkesola (keyboard, producer) along with Nordhus, were already in place by 2001. But whether it was the gothic crush of A Blessing in Disguise or pitch-black hard rock of The Quest Offspring, Green Carnation continued branching out through the mid-2000s. Even before going on hiatus in 2007, they still flashed a flare for the dramatic by performing their acoustic verses underneath a mountain dam.
“Green Carnation use Leaves of Yesteryear to prove once again they are titans of the craft”, Metal Injectionwrote about the band’s 2020 comeback album, which welcomed drummer Jonathan Pérez.
However, there was one tale – or three, to be exact – that eluded them for more than three decades. The idea for an album trilogy penned after Shakespeare’s tragic Ophelia stems all the way back to their earliest reflections of life and death, but when the first part of A Dark Poem was unfurled in 2025, right away, it was clear that Green Carnation had completed their masterpiece. The Shores of Melancholia washed onto year-end lists atLoudwire , Angry Metal Guyand other major publications.
“Epic in both scope and sound, the latter being the band’s rich, melodic take on the genre best described as Rainbow’s Rising if it were a prog album”, PROG wrote. “Part I works as an entity in its own right while also leaving the listener desperate to hear the next installments”.
If Green Carnation set sail from a familiar place of melancholy on The Shores of Melancholia, then Sanguis finds the band far out at sea, fighting to stay afloat against the storm that’s raging in their minds. Whereas Part I only scratched at the surface, the epic title track that opens Part II vows to forgive and forget old bloodied wounds. Over the course of nine minutes, cresting cleans and swells of organ from long-time producer and newest member Endre Kirkesola try and wash away the familial wreckage — only for a traumatic childhood memory to come flooding back during the song’s doomy coda.
“Father was boiling, mother was crying / The children left scared in their beds”. A fiery shiver of a riff slowly spirals downward, as if trapped inside a mental hell.
“It paints a pretty grim picture of my childhood”, Sordal says about “Sanguis”. “I do have great memories from that time, too, but parts were very dark. I had some tough issues with my father, but I now know that he had it worse. I didn’t think about that when I was younger, but as I’ve gotten older, I’ve learned that there is usually more to the story”.
“It took Stein Roger almost 50 years to understand why his father treated him the way he did”, Nordhus says about his dear bandmate. “He didn’t understand until he had kids of his own and was watching them grow up”.
The heaviness that launched Green Carnation during Part I of A Dark Poem has aged like a fine wine on Sanguis. “Sweet to the Point of Bitter” balances meaty riffs with a pleasing melody and underlying notes of resentment. “You will acknowledge I was broken / Before you came around”. With a guitar solo that winds like the winds of change, “I Am Time” demands immediate recognition. “In your mind, I’m tomorrow / For your sake, I should be today”.
But while “Fire In Ice” stokes the political flames viewed from The Shores of Melancholia with pounding windchills of double bass, Part II reveals Green Carnation at their most raw and vulnerable. As was the case for most of Part I, Sordal penned all the lyrics to Sanguis. However, in a rare appearance not seen since the burden was his alone, he steps to the mic on “Loneliness Untold, Loneliness Unfold”. With an arrangement that’s plucked like the petals of a wilted flower, the song now stands as one of the more barren and stirring in their discography. “Do you want to die?” Sordal poses to a distant familiar of the band. His delicate delivery confirms his fear of already knowing the answer.
“These songs come as they are, with no filter”, Sordal says. “I needed to set these stories free and let them out”.
“Part II deal with personal loss and sadness”, shares Nordhus, though as he’s quick to explain, Sanguis isn’t all gloom and doom. “Those feelings can be almost comforting, like stories you hear about the calm that people experience before they die”. Indeed, if A Dark Poem contains a silver lining, it’s in the creative partnership that’s helped Green Carnation endure for more than three decades. “It would be different if I had only known Stein Roger for two months”, Nordhus continues in explaining how he gives voice to the words of his dear friend. “It’s easy for me to understand and relate to all of his struggles, all of his pleasures and joys, because I’ve been a part of them as well”.
Part II introduces more peaks and valleys into the overarching narrative of A Dark Poem, but nowhere does the album’s bleeding-heart core shine through more achingly than its closing ballad. Graced by Ingrid Ose’s soothing flute, “Lunar Tale” positively sparkles, even as it casts a rather grim beacon into the future. “The end justifies the means, you’ll see”, Nordhus sings with eerily quiet confidence. As the piano seeps beneath the moonlight, Sanguis leaves fans hanging in suspense over where this trilogy will end.
Recording lineup Kjetil Nordhus – Vocals Stein Roger Sordal – Bass, Rhythm Guitars, Lead Guitars, Keyboards, Lead Vocals on “Loneliness Untold, Loneliness Unfold” Bjørn Harstad – Lead Guitars, Effects Endre Kirkesola – Keyboards, Synthesizers, Organs, Effects, Backing Vocals on “Lunar Tale” Jonathan Alejandro Perez – Drums
Guest musicians Ingrid Ose – Flute on “Lunar Tale”
Live lineup Kjetil Nordhus – Vocals Stein Roger Sordal – Bass Tchort – Guitars Bjørn Harstad – Guitars Trond Breen – Guitars Endre Kirkesola – Keyboards
Recording, Mixing & Mastering Studio dUb Studio
Production Credits Producers – Endre Kirkesola, Stein Roger Sordal, Kjetil Nordhus Sound Engineers – Endre Kirkesola, Bjørn Harstad Mixing engineer — Endre Kirkesola Mixing assistant — Bjørn Harstad Mastering Engineer — Lawrence Mackrory
Defects reveal their brand-new single ‘Artificial Icons,’ which boils over with rage on a world run by control and lies, and announce changes within the band. Check out the video for ‘Artificial Icons.’ Following on from themes touched upon on their debut album, ‘Artificial Icons’ tackles wider socio-political issues. It’s about zooming out on the world, noticing manipulation, and refusing to stand by. It’s a volatile mix of crushing riffs, thunderous breakdowns, and soaring choruses, surging between savage screams and anthemic vocals, pushing and pulling between chaos and clarity. The lyrics scream, “Oppress and pretend that this is all to protect, build back better, what the fuck do you mean, you wanna start a revolution that we don’t even see.”
The song holds particular clarity in the world’s political climate of 2026. “Look around. I wanted to write a song that pushes you to think outside the box. I was faced with religious teachings when I was younger. I felt fear, I felt rage, and I wanted to fight back. Believe in what you choose, not in what others force on you for their own agendas, profit or control,” says singer Tony Maue.
‘Artificial Icons’ follows their previous new single, Heresy – a brutal confrontation with blind faith and false hope. This is their first new music since the release of 2024’s Modern Error. When their debut album was released, it connected with metal fans around the globe. Momentum surged as they hit the road hard, sweeping across Europe with Trivium, Northlane, Of Mice and Men, Orbit Culture, and Funeral for a Friend. Their festival checklist was a monster exercise: Download (UK), Slam Dunk (UK), Mystic Festival (Poland), Rock Im Park/Rock Am Ring (Germany), Impericon Festival (Germany), Rockharz (Germany), Summer Breeze Open Air (Germany), Rock for the People (Czech Republic), Jera On Air (The Netherlands), Graspop (Belgium), and Parkpop (Belgium). In late summer 2025, they reached a fork in the road. Harry Jennings (Drums), Luke Genders (Guitar), and David Silver (Bass) chose to step back and focus on new life chapters. Together with Maue, they co-wrote new music as a parting gift and legacy, leaving their mark as they departed. Maue and guitarist James Threadwell continues the band. “It was incredibly tough. They’re my friends. I love those guys to pieces. When we wrote together, there was a real bond,” Maue says, before adding, “There were moments when I didn’t know how to piece this together to walk forward.”
While this moment is bittersweet, they’re stepping into a new era with a new lineup: Tony Maue (Vocals), James Threadwell (Guitar), Taylor Brown (Guitar), and Rowan Jack (Drums), bringing a renewed focus and the same fire that has always driven them forward. ‘Artificial Icons’ will continue to light the path. “I can’t give up. I’ve given up before. I know what that looks like, and I’m not doing that again,” Maue affirms.
Swiss rockers Rock-Out are thrilled to unleash a new single and official video, “10 Seconds On The Highway”, out now via Frontiers Music Srl.
The band commented: “Ten seconds are enough to leave the old world behind and start afresh. Moving forward without a plan, without doubt, but with your foot on the accelerator. That’s the feeling that we want to celebrate with this song. Fast, loud and best played on repeat!”
Imagine a smoky room, the scent of freshly tapped beer in the air, and a crowd raising their glasses as classic rock chords tear through the atmosphere. This is the world of Rock-Out, a band that embraces the raw energy of rock music in its purest form.
With a no-frills attitude, loud riffs, and a passion that spills over every chord, Rock-Out brings authentic, gritty rock back to the stage – direct from Switzerland to any venue ready to be shaken to its core.
Formed in 2012, Rock-Out released their first album in 2018, “Loud, Hard and Dirty”, a debut that quickly marked them as a force to be reckoned with in the Swiss rock scene. Two years later, they dropped their second album, “Stand Together”, raw, direct, and full of Swiss rock spirit.
Their big break came in 2022, when they performed a prime-time set on Swiss national television (SRF) during a Saturday evening showcase, reaching a massive audience and cementing their status as one of the country’s most exciting live acts. For Florian Badetscher (guitar, vocals), Luca Gfeller (bass), David Bärtschi (drums), and Severin Held (guitar), there’s no safety net, no gimmicks—just pure rock energy.
Since then, Rock-Out has dominated the festival circuit, performing at major rock festivals across Switzerland and Germany, including Summerside, Riverside, and Rock of Ages. They’ve also conquered the club scene, selling out their first club shows and leaving audiences craving more of their powerful, melodic sound.
Rock-Out’s music is straightforward, timeless, and proudly Swiss. Hailing from the Emmental region, the band delivers powerhouse performances that speak louder than words. And at the heart of it all is frontman Florian’s incredible voice, a natural gift that adds a unique, captivating edge to their already thunderous sound.
Their third album “Let’s Call It Rock’N’Roll” was released in April 2025, and proves that rock is not dead. With power, confidence, and undeniable grit, Rock-Out is keeping the spirit of rock alive and louder than ever.
Line Up: Florian Badertscher – Vocals, Guitar Severin Held – Guitar Luca Gfeller – Bass David Bärtschi – Drums
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
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