Patriarchs in Black are not interested in the obvious. While most bands mining the Black Sabbath catalog reach for the anthems, this heavy music collective went straight for “Supertzar,” one of the most ambitious and underappreciated compositions in the Sabbath canon, and turned it into something cinematic, crushing, and entirely their own. The single is out now on NoLifeTilMetal Records, and it arrives with serious pedigree behind every note.
The lineup assembled here is not incidental. Johnny Kelly, the powerhouse behind Type O Negative, drives the track with the kind of drumming that reshapes a room. Dan Lorenzo of Hades delivers the riff weight, while former Pale Horse Named Death member Eric J. Morgan layers keys that push the track toward genuinely epic territory. Over all of it, Sarah Sovak’s haunting, angelic vocals give “Supertzar” its rock opera dimension, a quality the original always hinted at but rarely received in full.
The track carries a remarkable stamp of legitimacy. Original Black Sabbath drummer Bill Ward heard the rendition and gave his approval. That is not a detail to gloss over. Lorenzo traces the song’s origin to a conversation with Kelly during sessions for an earlier project, a casual mention that sent him back to a track he had not revisited in years. “I fell in love with it,” he says. “Sarah Sovak and Eric J. Morgan really helped us bring the song to life.”
They did more than that. “Supertzar” as reimagined by Patriarchs in Black is a fully realized heavy music statement, the kind of cover that justifies its own existence by expanding what the source material suggested was possible. Bold, atmospheric, and built to last, it is one of the most convincing heavy music releases of 2026 so far.
Daedric have always operated in the space where heavy and emotive intersect. “Iridescent Wings” (Acoustic), out now via FiXT, finds vocalist Kristyn Hope and producer Geoff Rockwell peeling back the armour entirely. The track is the first single from the forthcoming Reborn EP, which revisits select songs from their 2025 album ‘As The Light Left’, and it announces that project with quiet, haunting authority.
The original “Iridescent Wings” was described by the band as what Daedric would sound like if they made an emo song. The acoustic version takes that vulnerability further, stripping away the ferocity to leave something bare and confessional. Hope’s vocals, always a commanding presence in the band’s heavier work, take on an entirely different weight here, intertwining with gentle acoustic guitar while Rockwell adds subtle backing vocals that deepen the intimacy without crowding it.
Hope is candid about the process: “Getting the energy and emotion right took some real effort, but we ended up with something we think is a great addition to the Daedric canon.” That effort is audible. This is not a throwaway acoustic exercise. It is a fully considered reimagining that reveals new dimensions in the songwriting. A track this restrained and this affecting confirms Daedric as one of modern metal’s most versatile and compelling acts working today.
The band’s trajectory makes the arrival of this single feel significant. Since launching in 2021, Daedric have toured North America twice, shared stages with Vola, earned recognition from Cristina of Lacuna Coil in a Spotify Women of Metal roundtable alongside Spiritbox and Halestorm, landed in Outburn issue 112, and placed their collaborative track “Abandon” with Andromida inside a Ubisoft Rainbow Six Siege promotional trailer. Nearly 500,000 followers across platforms and a European tour ahead, 2026 is already shaping up as their biggest year yet.
W’t’M are not a band that arrived quietly. The Italian-Danish modern metal project, formed in 2022 as a remote collaboration between Italian singer Marica Moire and Danish bassist Ole Quist, has moved fast and with clear direction. Their new single, out April 10th and produced at Hop House Studio by Andreas Linnemann, is the sharpest distillation yet of everything this band does well: atmospheric melodies colliding with hard-hitting riffs and vocals that refuse to stay small.
The project took a significant step forward in 2023 with the addition of Michael Bastholm Dahl, formerly of Artillery, whose dynamic vocal duets with Moire gave the band its defining signature. That combination of voices, one grounded and commanding, one soaring and immediate, is the engine that drives W’t’M’s sound into genuinely compelling territory. Fans of Halestorm, Within Temptation, Pretty Maids, and Deep Purple will recognize the bloodline immediately.
Their 2025 debut album ‘Witness the Madness’ established the foundation, followed by high-profile European festival appearances including Nordic Noise Festival, Copenhell Pre-Event, and Death Island Festival, plus live performances across Poland. For a band that began as an online experiment, the ground covered in a short time is striking. Quist puts it plainly: “This single captures everything W’t’M is about, powerful melodies, emotional depth, and pure metal energy.”
The new single delivers on that promise with force and precision, a track that locks into a groove and refuses to let go. W’t’M are building something with staying power, and this release makes that unmistakably clear. A modern metal act worth tracking closely and one of the more exciting international discoveries of the year.
Ella More has a gift for finding the emotional truth inside a moment and building a song around it. “Sweet Rose,” out now, is her most expansive release yet, produced by multi-platinum, Grammy-nominated producer Jake Gosling (Ed Sheeran, Paloma Faith) and driven by bright, addictive pop production that pulls you in immediately. The track captures the intoxicating rush of love while quietly unravelling what happens when that feeling no longer fits the person you are becoming.
The song draws directly from Ella’s own life. Raised in Moseley, Birmingham, she grew up watching her parents build a relationship rooted in resilience and chosen commitment, together since they were fifteen. That model of enduring love became the standard. “Sweet Rose” is the moment she held her own relationship up against it. “There is a moment when you look at your life from the outside,” she explains. “You see the person you love, you see yourself, and something shifts.”
The visual world built around the single deepens that contrast sharply. A preserved Mid Century home in the heart of the Black Country contains the relationship, still rooms and repeating conversations, Ella moving through space in sharp Mary Quant-inspired silhouettes. Outside, the landscape opens. A suitcase, wide countryside, wind replacing silence. Freedom arrives not with drama but with deliberate, quiet steps.
“Sweet Rose” is a genuinely compelling piece of pop songwriting, emotionally layered and sonically immediate, the kind of track that rewards repeated listening. It sits comfortably alongside everything Ella has built so far, and then pushes further. With over 1.1 million cross-platform streams, support from BBC Radio 1, BBC Radio 6, BBC 1Xtra, and BBC Introducing, and critical praise from Wonderland, Clash Magazine, and New Wave Magazine, the attention around her is well earned and still building.
Having already toured alongside Jorja Smith and Tamera, Ella More is operating with the confidence of someone who knows exactly what she is making and why it matters. “Sweet Rose” is that conviction in full bloom.
Spotify has quietly rolled out something genuinely interesting. SongDNA, currently available through Spotify for Artists Preview, is an interactive discovery feature that pulls back the curtain on the creative process behind a song. For Premium users, it surfaces the full creative team, inspirations, samples, interpolations, and song connections directly inside the mobile app, including the Now Playing view. It is the kind of context that used to live in liner notes, now embedded where the listening actually happens.
The feature is designed to deepen the relationship between fans and music in a way streaming has rarely attempted. SongDNA draws contributor data from labels and distributors, links sample and interpolation information via WhoSampled, and lets artists and their teams manage what appears, including hiding or showing specific credits and song connections. Artists with more than 5,000 monthly active listeners can add contributors directly, giving smaller acts a meaningful tool for proper credit attribution.
For artists, the appeal is straightforward. Every collaborator, co-writer, and producer who shaped a track now has a visible presence inside the listening experience. That kind of transparency matters in an industry where behind-the-scenes contributions routinely go unacknowledged. SongDNA gives those credits a home that fans will actually encounter.
For fans, it opens a genuine discovery loop. Finding out a favorite track interpolates a soul classic from 1971, or was co-written by a producer with a catalog worth exploring, turns a single listen into a rabbit hole. That is exactly the kind of engagement Spotify has been chasing for years, and SongDNA delivers it in a format that feels organic rather than forced.
SongDNA is accessible now in the Spotify mobile app version 9.1.28 or higher for artists enrolled in Spotify for Artists Preview. Changes made through Spotify for Artists appear in the app within 48 hours. It is early days, but the feature points toward a more connected, more informed listening culture. That is worth paying attention to.
SongDNA is worth setting up now. Getting ahead of it before the wider rollout is exactly the kind of move that pays off.
Emmet Cohen has announced ‘Universal Truth’, his fourth album for Mack Avenue Records, arriving May 29th. Recorded in celebration of the centennial year of both Miles Davis and John Coltrane, the album carries forward their spirit of personal and spiritual discovery through Cohen’s own distinctly modern lens. The DownBeat Readers Poll Pianist of the Year for 2025 brings the full weight of his craft to this one.
The album is built around classic repertoire associated with both legends, but the crown jewel is Cohen’s original three-part suite, also titled “Universal Truth.” He draws the title directly from Coltrane’s own language: “When Trane talked about his artistry and his calling, his intention was always to seek that universal truth.” That searching quality runs through every track, and Cohen’s suite stands as some of the most ambitious and revelatory work of his career.
The assembled cast is extraordinary. Bassist Ron Carter and tenor saxophonist George Coleman reunite on “My Funny Valentine,” more than sixty years after recording it with Miles Davis at Lincoln Center. Trumpeter Jeremy Pelt delivers a blistering solo on “Well You Needn’t,” and the album closes with Coltrane’s “Blue Trane,” featuring the twin tenors of Coleman and Tivon Pennicott alongside Pelt and Cohen’s core trio of Yasushi Nakamura and Joe Farnsworth.
‘Universal Truth’ is Cohen doing exactly what he does best: connecting generations, honoring the lineage, and making something that feels urgent and alive in the present tense. Pre-orders are open now.
A wide-ranging tour is already underway, stretching deep into 2027 and including livestream events, festival appearances, and concert hall dates across North America.
‘Universal Truth’ Tracklist:
Budo
Well You Needn’t
My Funny Valentine
Gingerbread Boy
I. Eternal Glimpse
II. Compassion
III. Universal Truth
Blue Trane
Tour Dates:
March 24-28 – New York, NY – Birdland
March 29 – Portsmouth, NH – Jimmy’s Jazz & Blues Club
April 4 – Gainesville, FL – University of Florida
April 6-7 – La Jolla, CA – The Conrad Prebys Performing Arts Center
April 8 – Stanford, CA – Bing Concert Hall
April 9 – San Francisco, CA – SFJAZZ Center
April 10 – Rohnert Park, CA – Sonoma State University
April 11 – Irvine, CA – Irvine Barclay Theatre
April 12 – Santa Barbara, CA – Campbell Hall
April 14 – Santa Cruz, CA – Kuumbwa Jazz Center
April 16-19 – Seattle, WA – Jazz Alley
April 21 – West Vancouver, BC – Kay Meek Arts Centre
April 22 – Portland, OR – The Old Church Concert Hall
April 27 – Livestream – Live From Emmet’s Place (featuring Veronica Swift)
April 29 – International Jazz Day Celebration
May 2 – Danbury, CT – Western Connecticut State University
May 8 – Miami, FL – Adrienne Arsht Center for the Performing Arts
May 17 – Buffalo, NY – Kleinhans Music Hall
May 25 – Livestream – Live From Emmet’s Place (Universal Truth Release Show)
May 28 – Los Angeles, CA – The Wallis with the Pacific Jazz Orchestra
June 11 – Cincinnati, OH – Caffe Vivace
June 12 – Lakeside, OH – Hoover Auditorium
June 14 – Boone, NC – Appalachian Theatre of the High Country
June 22 – Livestream – Live From Emmet’s Place (featuring Chris Potter)
July 8-12 – New York, NY – Smoke Jazz Club
July 25 – Katonah, NY – Caramoor
September 5-6 – Washington, DC – DC Jazz Fest
September 8-12 – New York, NY – Birdland
September 18-25 – Botti @ Sea
September 26 – Chicago, IL – Hyde Park Jazz Festival
October 9 – Provo, UT – BYU
October 11 – Berkeley, CA – Freight and Salvage
January 12-17 – David Foster at Sea
January 17-24 – The Jazz Cruise
January 24-31 – Journey of Jazz Cruise
February 12 – Boston, MA – Berklee Performance Center
February 19-21 – Northridge, CA – Cal State Northridge
MISSIO have a new album coming, and they’re not easing into it. The Texas duo of Matthew Brue and David Butler have announced ‘Love & Heartbreak’, out July 3rd via Nettwerk, and launched it with “Bleed,” a seductive, tension-loaded single about the intoxicating pull of new desire. Fourteen tracks deep, the record navigates the full emotional arc of human connection through gritty alt-rock, pulsating electronic textures, and cinematic atmosphere.
The band frames the album around a question that never gets old. “Will I allow my own fear of getting my heart broken to stop me from experiencing something potentially magnificent?” Brue and Butler have spent a decade refusing to sit inside a single genre, pulling from rock, electronic, indie, and hip-hop to build something that hits on a visceral level. ‘Love & Heartbreak’ is the fullest expression of that instinct yet.
“Bleed” sets the tone immediately. The duo describes it as capturing “that overwhelming intoxication and sexual desire to experience one another for the first time,” and the track delivers exactly that, wrapping compulsive energy in hypnotic production and unfiltered lyricism. It is a strong, confident entry point into what promises to be one of their most cohesive records.
MISSIO are currently on the road for “The Hollow Crown Tour,” headlining alongside WesGhost and ThxSoMch, with support from The Haunt, Oxymorrons, and rosecoloredworld. The tour runs through April 18th in Los Angeles, with synths, serrated guitars, and moody vocals anchoring every night. Tickets are on sale now.
‘Love & Heartbreak’ Tracklist:
Dreams
Daggers
Bleed
Dopamine Kisses
I Remember When
Self Deprecation
You Are My Love (feat. Kent Osborne)
Gotta Let Me Know
With a Cigarette
Where’d You Go (feat. LIONSTORM)
Superpower
Going My Way
I Keep Running
The Moment
“The Hollow Crown Tour” Dates:
March 26 – Louisville, KY – Bourbon Hall
March 28 – New York, NY – Palladium Times Square
March 29 – Allston, MA – Brighton Music Hall
April 3 – West Chicago, IL – The WC Social Club
April 4 – Columbus, OH – Newport Music Hall
April 7 – Fort Wayne, IN – Pierre’s
April 9 – Nashville, TN – The Basement East
April 12 – Denver, CO – Summit Music Hall
April 13 – Salt Lake City, UT – Soundwell
April 15 – Portland, OR – Nova
April 16 – Seattle, WA – El Corazon
April 18 – Los Angeles, CA – The Vermont Hollywood
Les Claypool and Sean Ono Lennon have never been content to write simple songs about simple things. “Meat Machines,” the latest single from their upcoming album ‘The Great Parrot-Ox and the Golden Egg of Empathy’ (ATO Records, May 1), makes that abundantly clear. Driven by wiry psych-prog tension and a creeping ominous groove, the track locks onto one of the most pressing questions of the moment: what remains essentially human when automation keeps tightening its grip.
The song arrives with a new visualizer that pulls from the album’s companion comic book, illustrated by longtime collaborator Rich Ragsdale. It follows the warped, A.I.-themed opening salvo “WAP (What a Predicament)” and extends the record’s central argument deeper into unsettling territory. Lennon puts it plainly: “Some people think humans are just biological machines. They think free will is a hallucination and we’re destined to be replaced by robots. Some of us think we still have a choice.”
“Meat Machines” hits hard precisely because the Delirium mean it. The track carries real weight, coiling tension around a groove that never fully releases, and landing squarely among the strongest work the duo has produced. Recorded at Claypool’s Rancho Relaxo studio in Sonoma County and Lennon’s upstate New York studio The Farm, ‘The Great Parrot-Ox’ is the most fully realized Delirium project yet, fourteen tracks built around paperclip logic, spiritual collapse, and a fight to hold onto feeling.
The physical edition deepens the mythology considerably. A 2-LP tip-on gatefold with a 24-page comic book maps each song to its own illustrated chapter, the remnant of what began as a concept for a feature-length animated film. Pre-orders are open now on vinyl and CD.
Supporting the release, the Claypool Gold 2026 Tour brings together Primus, The Claypool Lennon Delirium, and the Fearless Flying Frog Brigade for a full-evening coast-to-coast run beginning May 20th. Claypool and Lennon both appear in the Delirium and the Frog Brigade, giving audiences multiple corners of Claypool’s catalog in a single night. Tickets are available now at theclaypoollennondelirium.com.
‘The Great Parrot-Ox and the Golden Egg of Empathy’ Tracklist:
Pro-Log
WAP (What a Predicament)
The Wake Up Call
Meat Machines
Troll Bait
Simplest of Deeds
Heart of Chrome
Through the Horizon
Mantra of the Manatee
The Golden Egg of Empathy feat. WILLOW
Cliptopia
Cliptron Scuttle
Melody of Entropy
It’s a Wrap
Claypool Gold 2026 Tour Dates:
Wednesday, May 20 – Reno Events Center – Reno, NV
Friday, May 22 – Hayden Homes Amphitheater – Bend, OR
Saturday, May 23 – Marymoor Live – Redmond, WA
Monday, May 25 – KettleHouse Amphitheater – Bonner, MT
Tuesday, May 26 – The Lot at the Complex – Salt Lake City, UT
Thursday, May 28 – Starlight Amphitheatre – Kansas City, MO
Saturday, May 30 – The Factory – St. Louis, MO
Sunday, May 31 – Meadow Brook Amphitheatre – Rochester Hills, MI
Tuesday, June 2 – Jacobs Pavilion – Cleveland, OH
Wednesday, June 3 – Salt Shed – Chicago, IL
Friday, June 5 – The Caverns Outdoor Amphitheater – Pelham, TN
Saturday, June 6 – KEMBA Live! Outdoor – Columbus, OH
Tuesday, June 9 – Thompson’s Point – Portland, ME
Wednesday, June 10 – Leader Bank Pavilion – Boston, MA
Friday, June 12 – Saratoga Performing Arts Center – Saratoga Springs, NY
Saturday, June 13 – Stone Pony Summerstage – Asbury Park, NJ (SOLD OUT)
Sunday, June 14 – All Good Now Festival – Columbia, MD
Tuesday, June 16 – The AMP Ballantyne – Charlotte, NC
Wednesday, June 17 – Firefly Distillery – North Charleston, SC
Friday, June 19 – St. Augustine Amphitheatre – St. Augustine, FL
Saturday, June 20 – Synovus Bank Amphitheater at Chastain Park – Atlanta, GA
Monday, June 22 – Walmart AMP – Rogers, AR
Tuesday, June 23 – ACL Live at Moody Theatre – Austin, TX
Thursday, June 25 – The Pavilion at Toyota Music Factory – Irving, TX
Saturday, June 27 – Dillon Amphitheater – Dillon, CO (SOLD OUT)
Sunday, June 28 – Dillon Amphitheater – Dillon, CO
Tuesday, June 30 – Arizona Financial Theatre – Phoenix, AZ
Wednesday, July 1 – Gallagher Square – San Diego, CA
Friday, July 3 – Long Beach Amphitheater – Long Beach, CA
Saturday, July 4 – Meritage Resort & Spa – Napa, CA
A powerful new chapter opens for Don Williams with the unveiling of “Leaving Louisiana in the Broad Daylight.” The newly released track leads ‘Epilogue: The Cellar Tapes,’ a 12-song collection of previously unheard recordings arriving May 29. Drawn from sessions between 1979 and 1984, the album captures Williams during one of the most defining stretches of his career.
The recordings were discovered in the cellar of the Williams family home and restored with extraordinary care. Longtime collaborator Garth Fundis worked alongside Tim Williams to complete the project, preserving the original vocal performances while rebuilding missing instrumentation. The result is rooted in authenticity, anchored by the unmistakable warmth of Williams’ voice.
“Leaving Louisiana in the Broad Daylight” stands tall among these rediscovered tracks. Written by Rodney Crowell and Donivan Cowart, the song carries a cinematic pace and narrative drive. Williams delivers it with steady phrasing and quiet control, bringing a fresh dimension to a composition already known in country circles.
The album is supported by a cast of trusted collaborators who helped define Williams’ sound. Bassist Joe Allen, drummer Kenny Malone, and arranger Charles Cochran return alongside a lineup of seasoned players, restoring the subtle textures that shaped his recordings. Each detail reinforces the integrity of the original sessions.
This is a rare and meaningful addition to a legendary catalog. The music carries the same calm authority and emotional depth that made Don Williams a cornerstone of country music, now presented with renewed life for a new generation.
WIDGET waste no time getting bodies moving with “Dogs Don’t Lie,” a sharp, playful blast of disco-punk energy. The new single lands as the latest preview of their debut album ‘Classy Hits Vol.2,’ out April 24. It captures the band’s chaotic charm and dancefloor instincts in full colour, pushing their sound further into bold, rhythm-driven territory.
The track leans into absurdity and connection, built around a simple truth that hits hard in a hyper-online world. The band call it a “sonnet for the chronically online,” packed with humor, repetition, and a hook that sticks immediately. It is loud, strange, and deeply fun, the kind of song that turns a packed room into a chorus within seconds.
The video adds another layer, cutting found footage from a 70s skateboarding safety film into something surreal and oddly nostalgic. Edited by bassist Elena Agulla Gil, it mirrors the band’s collage-like style, where references collide and meaning builds through movement and rhythm. It feels loose, inventive, and completely aligned with WIDGET’s visual identity.
‘Classy Hits Vol.2’ arrives with serious momentum behind it. Recorded in just four days and shaped entirely within the band’s own creative circle, the album channels their live intensity into a tight, propulsive listen. Scratchy guitars, tape-soaked synths, and relentless percussion drive songs that feel immediate and alive.
This is music built for sweat, release, and collective noise. “Dogs Don’t Lie” hits with urgency and bounce, another standout moment from a group that understands exactly how to turn a room into a celebration.
