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Felix Mackenzie-Barrow Of Divorce Announces Solo Debut ‘Book Of Churches’ For March

Eric Alper
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Felix Mackenzie-Barrow Of Divorce Announces Solo Debut ‘Book Of Churches’ For March

Felix Mackenzie-Barrow, co-vocalist and guitarist with breakthrough alt-country band Divorce, has announced his first solo project under the moniker Book of Churches. His self-titled debut album arrives March 6 via Gravity/Capitol, with lead single “Song By A Stranger” available now. The album represents a creative pivot for Mackenzie-Barrow, who describes the writing process as incredibly DIY and kind of naive, with each song written in one day, recorded the next, and left largely untouched until handed over to Richie Kennedy of Interpol and The Last Dinner Party fame for mixing. The timeless minimalism evokes the tradition of folk singer-songwriters like Nick Drake, Fionn Regan, and Leonard Cohen.

Mackenzie-Barrow snatched moments away in isolation throughout 2025, a year that saw Divorce win rave reviews, earn awards nominations, tour extensively across the UK, debut in Europe and North America, and land on major festival mainstages. The album charts lost love, dread, grief, and anger through songs that break his own creative rules while trusting his singular voice and committing to the raw contents of his brain. He describes “Song by a Stranger” as the blueprint for the album’s approach, written the night he arrived home from touring after noting a shaft of light falling like an arm across van seats in his phone, then recorded the following day and left untouched until Kennedy’s late 2025 mixing sessions. The record functions as a travelogue, with Mackenzie-Barrow speaking to a former partner, attempting to find a North Star across vast spaces and times, using the metaphor of churches to describe the precious connections people share.

Tour Dates:

April 23 – The Hope & Ruin, Brighton, UK April 25 – The Castle, Manchester, UK April 26 – The Hug & Pint, Glasgow, UK April 28 – Belgrave Music Hall, Leeds, UK April 29 – The Cube, Bristol, UK April 30 – St Pancras Old Church, London, UK May 1 – Nottingham Contemporary, Nottingham, UK

Third Man Records Celebrates Jimi Hendrix With Vault Collection ‘Valley Of Jams 1969-1970’

Eric Alper
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Third Man Records Celebrates Jimi Hendrix With Vault Collection ‘Valley Of Jams 1969-1970’

Third Man Records has partnered with Experience Hendrix and Legacy Recordings to release ‘Valley of Jams 1969-1970’ as the 67th entry in their archival audio series The Vault. The landmark anthology collects previously released improvisational recordings from Jimi Hendrix across three LPs pressed on vibrant 180-gram colored vinyl at Third Man Record Pressing in Detroit, along with an additional seven-inch single, patch, and bumper sticker. The package arrives in a captivating tri-fold jacket that utilizes multiple rapid shot photos of Hendrix to simulate movement through still imagery. Subscriptions to order the collection remain available through January 31 at midnight Central Time exclusively at thirdmanrecords.com/vault.

The collection focuses on the transitional period where the original Jimi Hendrix Experience lineup with Mitch Mitchell and Noel Redding began to evolve, with Billy Cox taking over on bass after Redding’s exit and Buddy Miles eventually picking up drums following Mitchell’s departure. Born in Seattle in 1942, Hendrix built his foundation through early experiences in the United States Army and as a backing musician for the Isley Brothers and Little Richard on the Chitlin’ Circuit before bursting onto the international music scene with the Experience’s first single in December 1966. The sessions highlighted throughout ‘Valley of Jams 1969-1970’ capture Hendrix’s extemporaneous artistic expression across multiple recordings in New York and London, showcasing his use of the studio and improvisation as foundational elements of his creative process.

Opening track “Slow Version” delivers a groove-driven explosion of raw rock and roll, while “Trash Man” showcases fanciful, vocal-like lead playing that demonstrates why Hendrix continues to be cited as the greatest guitar player of all time. The medley of “Cherokee Mist/Astro Man” pairs skilled leads with guitar-pedal affected rhythm and features pre-punk Tom Erdelyi on engineer duty, just a couple of years before he would join the Ramones as drummer Tommy Ramone. The 28-minute exploration of “Keep On Groovin'” stands as a tour-de-force that combines jazz, flamenco, blues, rock, soul, and other styles yet to be defined, revealing how prodigious Hendrix’s output remained during his less-than-four-year whirlwind in the spotlight before his death in September 1970.

Legendary engineer Eddie Kramer, who spent extensive time with Hendrix in the studio during these jam excursions, precisely mixed the entire collection. Experience Hendrix, owned and operated by members of the Hendrix family and formed in 1995 by Jimi’s father James ‘Al’ Hendrix, manages the name, likeness, image, and 100% of the music of Jimi Hendrix’s legacy. The recordings span sessions that document Hendrix’s progression through interplay with musicians who seemingly come and go, cementing not only the impressive volume of work but its enduring quality.

Tracklist:

LP 1: Slow Version (4:56) Jam 292 (5:22) Trash Man (7:23) Izabella (4:23) Record Plant 2X (11:03) Villanova Junction Blues (4:56)

LP 2: Ezy Ryder/MLK (19:59) Room Full Of Mirrors (5:53) Jungle (9:05) Strato Strut (4:40) Slow Time Blues (3:49)

LP 3: Burning Desire (9:48) Cherokee Mist/Astro Man (4:53) Stepping Stone/Villanova Junction Blues (6:38) Keep On Groovin’ (28:05)

7-inch: Midnight Lightning (3:07) Beginnings – Take 5 (5:26)

Black Veil Brides Ring In 2026 With Charged New Single “Certainty” And Striking Video

Eric Alper
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Black Veil Brides Ring In 2026 With Charged New Single “Certainty” And Striking Video

Black Veil Brides have kicked off the new year with the release of “Certainty,” a dynamic anthem paired with a powerful music video that showcases the band’s visual ambition. The single appears on the group’s seventh studio album arriving later this year via Spinefarm and marks another chapter for the lineup of vocalist Andy Biersack, guitarists Jake Pitts and Jinxx, bassist Lonny Eagleton, and drummer Christian Coma. Biersack describes the concept as central to the entire record, drawing inspiration from the film Conclave and its examination of how rigid belief systems can trap people in echo chambers of absolute conviction. The song addresses how certainty, when hardened, eliminates curiosity and the willingness to evolve, themes that resonate throughout today’s political and social landscape.

Director George Gallardo Kattah, known for his work with Chelsea Wolfe and Maneskin, filmed the “Certainty” video while Black Veil Brides toured Colombia, capturing stunning cinematography that carries the intensity of an A24 production. Biersack notes the track came together rapidly after Pitts shared an initial idea, becoming the final song written and recorded for the album. His interpretation of fear and pride as biblical twins creates visuals that rank among the band’s most compelling work. The group’s influence continues to expand, with social media followings approaching 12 million across Instagram and Twitter, while their previous album ‘The Phantom Tomorrow’ reached number one on Billboard’s Top Hard Rock Albums chart. Their recent single “Bleeders” climbed to the top of Active Rock radio, proving the band’s ability to connect with audiences remains as strong as ever after 15 years of leading the BVB Army.

Remy Verreault Unleashes Raw Two-Song EP “Throwing Daggers In The Dark”

Eric Alper
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Remy Verreault Unleashes Raw Two-Song EP “Throwing Daggers In The Dark”

Saguenay, Quebec solo punker Remy Verreault has dropped a brand new two-song EP titled “Throwing Daggers in the Dark” via High End Denim Records. The release contains two short tracks made between other projects and serves as a preview of an album arriving in 2026. Verreault writes, screams, and plays every instrument himself, creating raw noise and distortion without trends or polish. The one-man punk rock project previously released “Never Take For Granted” in July of 2025.

A Good Rogering Brings ‘Systematic Paralysis’ To Southwest On “Last Time For Now” Tour

Eric Alper
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A Good Rogering Brings ‘Systematic Paralysis’ To Southwest On “Last Time For Now” Tour

Heavy rock veterans A Good Rogering are taking their 2022 album ‘Systematic Paralysis’ back on the road with their “Last Time For Now” tour hitting seven cities across the Southwest. The five-piece lineup brings together vocalist and guitarist Skunk Manhatten, guitarist Tim Driscoll, mainstay drummer Rom Gov, original bassist Blaine Matte, and keys/vocalist Adam Kirby for a run that includes a stop at the legendary Whisky A Go Go in West Hollywood. The tour launches January 16 at Fuel Bar in San Antonio and wraps February 1 at Come & Take It Live in Austin, with stops at The Detour Bar in Midland, The 44 Sports Grill in Glendale, Rockefellas Bar in Corona, and Til-Two Club in San Diego along the way.

The band’s sound draws from a wide range of influences including Pink Floyd, The Beatles, Faith No Main, Alice In Chains, Type O Negative, and Metallica, blending progressive elements with heavy grooves and ethereal textures. Since their 2010 debut ‘Long Overdue’, A Good Rogering has built a catalog that includes 2013’s ‘Lifeblood’, the 2017 EP ‘This Is Death Metal’, and various singles released between 2018 and 2021. Their raw, no-frills live performances have earned them opening slots for Skid Row, Marty Friedman, Uli Jon Roth, Jared James Nichols, Firewind, Sponge, and Immortal Guardian. The combination of Manhatten’s versatile vocals and the band’s willingness to cross genre boundaries creates something that hits harder than most straight-ahead metal acts would dare to attempt. Currently working on their fourth full-length album at Evil Snail Studios with producer Kfir Gov, the band is also preparing to release a cover of Tool’s “Sweat”, recorded by engineer Jason Schimmel and mixed by renowned producer Sylvia Massy.

My SiriusXM Show: Kathleen Edwards

Eric Alper
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My SiriusXM Show: Kathleen Edwards

My SiriusXM show is a special, rare full-hour interview with Kathleen Edwards, diving deep into my favourite album of 2025, ‘Billionaire’, her past albums, time away from music, and what comes next. Sat 8am and 2pm, Sun 12pm, Wed 2pm ET on Channel 167, and anytime on the app.

Live Game Shows That Feel Like Real TV

Eric Alper
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By Mitch Rice

Open any major online casino today and you will see a separate lobby just for “live game shows.” These titles sit alongside roulette and blackjack, but they look much closer to a TV studio than a traditional table. Real hosts stand under bright lights, spin oversized wheels, crack jokes, and talk directly to the camera while thousands of players join from their phones or laptops.

This mix of broadcast‑style production and real‑time betting has turned game shows into one of the most recognisable parts of modern online gaming. The appeal is simple: players get the tension and participation of a live bet, wrapped in the familiar look and sound of an entertainment show.

From TV Studio Energy to Casino Screen

If you have ever watched a classic TV game show, the structure of live casino shows feels instantly familiar. There is a central mechanic – a wheel, a board, a draw – and everything else is built around suspense. The host keeps the pace moving, the studio lights and music build up key moments, and the chat fills with running commentary from players.

A few details make the format stand out:

  • Real hosts, not just animations. That human presence gives every session a slightly different tone.
  • Short, repeatable rounds. Each spin or draw is over in under a minute, so the drama resets constantly.
  • Layered features. Multipliers, bonus rounds, or side picks give the sense that anything could happen on the next play.

For streaming‑era audiences used to watching live content on demand, this style lands naturally. It sits somewhere between a Twitch stream, a TV show, and a casino game.

Why Players Gravitate to Live Game Shows

Traditional casino games can feel closed to beginners. The rules, table etiquette, and optimal strategy can look like a wall you have to climb. Live game shows remove a lot of those barriers. You do not need to memorise complicated charts or learn hand signals; you mostly choose segments, numbers, or simple options and then watch what happens.

Players often mention a few reasons they keep coming back:

  • Accessibility. Clear visuals and simple bets make the games easy to follow, even for newcomers.
  • Continuous tension. Every round has a build‑up, a pause, and a reveal – the same pattern that keeps people watching quiz shows or talent finals.
  • Shared experience. Seeing other players win in real time, reading chat reactions, and hearing the host respond makes the whole thing feel more communal.

Because the format is built around moments rather than long sessions, people dip in and out between other activities – a bit like catching a favourite segment of a late‑night show.

The Role of Production and Personality

The drama of these games is not just in the numbers. It is in how they are presented. Providers invest heavily in sound design, dynamic camera angles, on‑screen graphics, and studio sets that look more like music‑video stages than casino pits.

Hosts play a big part in the feeling of the show. Some are calm and professional, emphasising clarity and pace. Others lean into humour, improvising with the chat, reacting big to surprise outcomes, and treating long multiplier chains like a sports commentator calling a last‑minute goal. Over time, regular players start recognising favourite hosts and specific studios, just as TV audiences follow certain presenters or late‑night formats.

This element of personality is a key difference from automated games. When a wheel lands on a big segment or a bonus is triggered, you are watching a person react in real time, not just a graphic flash on the screen. That human response adds weight to each big moment.

One Example of the New Style

Among wheel‑based shows, there are games that have become shorthand for the whole genre. They combine a main money wheel with multiple bonus rounds, surprise multipliers, and fast‑changing rounds, all backed by enthusiastic hosts and colourful sets. Many players use these titles as their gateway into live game shows in general.

Some platforms even offer a Crazy Time casino experience as a kind of flagship, inviting players into a space where they can spin, watch the host work the room, and jump into bonus segments when they appear. The idea is not just to place bets but to feel like you are in the middle of a constantly moving, slightly unpredictable live show.

How Drama and Responsibility Can Coexist

High‑energy formats carry their own risks. The constant stream of near‑misses, multipliers, and bonus teases can tempt people into playing longer than they planned. That is why regulators and responsible‑gaming campaigns keep stressing some basic rules, no matter how entertaining the studio looks.

Simple habits help keep things in balance:

  • Decide your budget and time limit before you open the live lobby.
  • Remember that every spin or draw is independent; patterns on the wheel do not “owe” you anything.
  • Take breaks between streaks of play to reset and decide if you still want to continue.

Most licensed platforms now include tools like deposit caps, time reminders, and self‑exclusion options. They might not be as flashy as multipliers and bonus wheels, but they play an important role in keeping the experience sustainable.

Where Live Game Shows Fit in Modern Gaming

Live game shows sit at the point where several trends meet: streaming culture, social chat, mobile play, and classic casino mechanics. They are built to be watched as much as played. People join sessions just to see how a run unfolds, celebrate big hits in chat, or enjoy the host’s on‑camera persona.

For some, these shows are an occasional treat during a longer online session. For others, they are the main attraction – a kind of always‑on interactive TV channel. Either way, the core appeal is the same: clear rules, big moments, and the feeling that you are part of something happening right now, not just spinning a digital reel in silence.

Handled with sensible limits, the drama of live game shows adds a distinct flavour to modern online gaming – loud, theatrical, and surprisingly social compared with the solo casino experiences of the past.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

90s Country Legends Unite For ‘Honky Tonk Time Machine’ TV Special

Eric Alper
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90s Country Legends Unite For ‘Honky Tonk Time Machine’ TV Special

The golden era of country music is set to take over Huntsville, Alabama, on Thursday, February 5, 2026, for “An All-Star Salute 90’s Country – Honky Tonk Time Machine.” Held at the Von Braun Center’s Propst Arena, this massive concert event has expanded its already staggering lineup to include legends like Jamey Johnson, Aaron Lewis, and Aaron Tippin. Over 40 artists will grace a single stage to perform their original chart-topping hits, creating a three-hour showcase that honors the decade that redefined modern country. The roster features a “who’s who” of 90s hitmakers, including Tanya Tucker, Tracy Lawrence, Lorrie Morgan, and the original voices of Restless Heart, Little Texas, and Lonestar.

Produced by the same Emmy-winning team behind tributes to George Jones and Lee Greenwood, the event is being filmed as a live television concert special slated for national broadcast on PBS. Fans in attendance will witness a historic gathering of talent, featuring over 60 number-one hits performed in person by the artists who made them famous. Tickets for the taping are available now through Ticketmaster and the Von Braun Center Box Office, with the production emphasizing high-fidelity cinematic visuals to match the iconic sounds of the era. This “Throwback Thursday” experience promises to be a once-in-a-lifetime reunion for fans of the genre, cementing Huntsville’s reputation as a premier hub for high-profile music specials.

Julian Never Finds Clarity In The Melancholic Jangle Of ‘Everyday Is Purgation’

Eric Alper
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Julian Never Finds Clarity In The Melancholic Jangle Of ‘Everyday Is Purgation’

Los Angeles-based musician Julian Elorduy, recording under the moniker Julian Never, has unveiled his latest single, “Say Something,” ahead of his upcoming full-length debut, ‘Everyday Is Purgation’. Due February 6, 2026, via Mt.St.Mtn., the album marks a significant shift from Elorduy’s noise-punk roots in Mayyors and the garage-pop energy of Fine Steps. “Say Something” serves as a poignant country-ballad interpretation of jangle pop, elevated by the mournful pedal steel work of Josh Yenne. Lyrically, the track explores the “loop of rumination” that follows a wrecked relationship—specifically the sting of being ghosted via a cryptic social media screenshot. Elorduy describes the project as an awakening from a “Dark Night of the Soul,” drawing philosophical inspiration from the 16th-century mystic St. John of the Cross to strip away comfort and confront the raw reality of being left behind.

The 10-track LP, recorded following Elorduy’s move back to Sacramento from the Bay Area, balances “sun-streaked” melodies with a buried baritone that has drawn comparisons to Wild Nothing’s Jack Tatum. Beyond his musical output, Elorduy is a true underground polymath, running the Obsolete Media label and teaching high school courses on the “Mysteries of Suffering and Death”—themes that permeate the “power-pop poetry” of the new record. ‘Everyday Is Purgation’ will be available in limited vinyl pressings, including 100 copies on Royal Blue and 200 copies on Milky Clear, distributed by the boutique Mt.St.Mtn. imprint. By merging the “scents of New Wave” with the tempered strums of a seasoned songwriter, Julian Never has crafted a record that is as much a personal history as it is a masterclass in atmospheric, heart-on-sleeve indie pop.

Bat Out Of Hell – The Musical Adds Three Toronto Performances Due To Popular Demand

Eric Alper
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Bat Out Of Hell – The Musical Adds Three Toronto Performances Due To Popular Demand

Bat Out Of Hell – The Musical extends its Toronto run at CAA Ed Mirvish Theatre April 1-4 with three added performances due to overwhelming demand. David and Hannah Mirvish announced the additional shows for Wednesday April 1 at 1:30pm and 7:30pm and Thursday April 2 at 1:30pm, with tickets available January 9 at 10am through mirvish.com or by calling 1.800.461.3333. The mega-hit musical featuring the timeless music of Jim Steinman and Meat Loaf boasts an epic world class cast of singers, dancers, and actors accompanied by a dynamic eight-piece rock band performing iconic rock songs from albums that sold over 68 million copies worldwide.

The production won the UK’s Radio 2 Audience Award for Best Musical at the Evening Standard Awards and received eight London WhatsOnStage Award nominations including Best New Musical. The show garnered five stars from The Independent, Daily Mirror, Daily Express, Manchester Evening News, and Metro, with The New York Times calling it extravagant, absurd, and compulsively hummable. Steinman incorporated iconic songs including “You Took the Words Right Out of My Mouth”, “Bat Out of Hell”, “I Would Do Anything for Love (But I Won’t Do That)”, “It’s All Coming Back to Me”, and “Two Out Of Three Ain’t Bad”, plus previously unreleased song “What Part of My Body Hurts the Most”. The musical follows the Lost boys and girls fleeing into tunnels below the city from ruler Falco as his teenage daughter Raven locks eyes with fearless leader Strat, their love-at-first-sight obsession threatening to destroy both families. Produced by Emmy and Tony Award winner Michael Cohl, Tony Smith, and David Sonenberg with direction by Jay Scheib, the show runs April 1 at 1:30pm and 7:30pm, April 2 at 1:30pm, April 3 at 7:30pm, and April 4 at 2pm and 7:30pm.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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