TORONTO, CANADA (May 15, 2026) -- Crimson Glory recently released their brand new album “Chasing The Hydra”, the first new album in over 26 years. For fans who demand the highest quality audio for their music, CHASING THE HYDRA is now available as a 24 bit hi res audio download on Bandcamp at https://bravewordsrecords.bandcamp.com Crimson Glory shared their thoughts on the response to the new album, “Greetings to Crimson Glory fans around the world, whom we affectionately refer to as, ‘The Crimson Militia.’ Right now we'd like to take a second to say just how floored we are at the reactions to our brand new record, Chasing the Hydra, our first in 2.5 decades. It should be known that one of the goals in making our comeback album was to bridge the gap, so-to-speak, between both our debut and the followup, Transcendence, and our new record. We've learned throughout the years that albums 1 & 2 were the top picks according to you guys, the fans. For this reason, along with a simmering yearning to go back to our roots, it was important for us to accomplish that goal. Just sayin', we are honored by all the very positive feedback, which of course will drive us to bring it even harder live! We will see YOU on tour! \m/“ “Chasing The Hydra” is currently charting at #3 on Sentinel Daily’s Top 30 Album Chart. 

OUT JUNE 12, 2026 VIA FRONTIERS MUSIC SRL

It's rather refreshing to see a group of Jethro Tull's magnitude in a provincial, seaside theatre. A fair few heritage acts are bypassing the Eastbourne's of the planet to merely focus on main cities. Even though it's a Saturday, the town itself if pretty quiet. I guess most of them were gearing up to this evening's show, as the venue is very nearly sold out. The gig starts with a pre-record of Ian Anderson very politely asking us to not take photos or videos until the last song. A Squirrel on the video presentation also echoes those thoughts. You can't argue with that..... "It's 1968!", Ian says, as he appears with Guitarist Jack Clark (who impresses very much this evening) to float into the opening song, "Some Day The Sun Won't Shine For You". A lovely arrangement on this. Two more from their debut album, "This Was" come right on after. "Beggar's Farm", and "A Song For Jeffrey". The latter has a wonderful hook to it. It's also introduced on video by none other than Jeffrey Hammond-Hammond, who the song was written for. It's only a few year's leap to the next song, though stylistically, it's a hop, skip and a jump into a truncated version of "Thick As A Brick". Originally straddling the full two sides of an LP, it must have been quite a task to edit it down and make it sound this effective. "Mother Goose" from "Aqualung" is hot on it's heels, from very much the same era. By the mid area of the first half of the first set, and the arrival of "Songs From The Wood", the versatility and variety of Tull has already been firmly on display. Progressive, Classical, Jazz, Rock, and the musical kitchen sink are all in the recipe. John O'Hara (Keyboards), and David Goodier (Bass), have been Tull members for 20 years apiece, next year. With Drummer Scott Hammond celebrating 10 years with the group next year, the longevity of the majority of the line-up is evident through the smooth and massively impressive performances. The last few years have seen a cavalcade of new music from the pen of Ian Anderson, with three new studio albums appearing in as many years:- "The Zealot Gene", "Rokflote" (sorry, I couldn't get the Umlauts to work on my keyboard!), and "Curious Ruminant", from last year. "The Navigators" from "Rokflote", shows that Ian has lost none of his spark, with wonderful melodies flowing. The title track of "Curious Ruminant" whacks the point home with regard to recent output, prior to whizzing back through the years for "Living In The Past" and "Bouree" Set Two fires off with "My God", another gem from "Aqualung", giving way immediately to the recent past with "The Zealot Gene". Whenever two separate phases of Tull's career follow each other this evening, they do so in a seamless fashion. "Progressive" is a word that suits them perfectly. "Budapest" is a scarce dip into the 1980's (as far as this evening is concerned, anyway). "Aqualung" closes out the show, with some wonderful improv. A short interlude, and then "Locomotive Breath" proves the perfect encore. I have no idea where Ian Anderson keeps finding his inspiration and song writing skills from, though they keep appearing, and in the finest of fashions. Many superlatives have been aimed at Tull over a period of many years, and this evening once more proves that they are all justified. An eccentric, much-loved, wonderfully unique and musically pre-eminent group. Here's to the 60th Anniversary in just over a year or so.

BOW DOWN. SAY "MOTHER". Forged in chaos and cemented in rage, MOTHER creates music for those who live loudly on the inside - the overthinkers, the romantics, the rage-filled softies, the neurodivergent, the ones who feel everything all at once and never quite fit the mould. Drawing from metalcore, industrial and electronic, MOTHER 's sound prioritises feeling over genre. For fans of Bad Omens, Spiritbox, and Evanescence, MOTHER 's debut single ' Unholy ' is now yours. With a music video dripping in sin and salvation, you're not just listening - you belong. On the conception of the track, MOTHER shares: "When I wrote 'Unholy', I was drowning quietly. Every part of my life felt as though it was rotting at the edges — relationships, mental health, identity, survival. I couldn’t tell whether the voice inside me wanted salvation or self-destruction anymore. I only knew some part of me wanted to disappear. The emptiness, the fractured sense of identity, the feeling of becoming a stranger inside your own body. There’s a grief within 'Unholy' that mourns a version of myself I’m not even sure ever truly existed. That’s the cruelty of BPD and dissociation — you begin to question your own memories, your own emotions, your own reflection." On the video, MOTHER continues: "The video embodies all of this emotionally, but it also represents transformation and the conjuring of inner strength. By the end, there is a shift from fragility into power — a dark power — the birth of Mother emerging from the wreckage of everything that came before. Not because the pain vanished, but because enduring it transformed me into something else entirely. If you hear your pain reflected within it, then the song fulfilled its purpose.”

SET FOR RELEASE JULY 31, 2026 VIA FRONTIERS MUSIC SRL

When guitarist and singer Andrew Knightley moved out of London and into the Chiltern Hills, he found inspiration in the birds that circled overhead. To him, the Red Kites represented freedom, a freedom that Knightley has endeavoured to carry into his music making. Sticking with the power trio format of his previous band (that’s Trident Waters, in case you were wondering), AK and the Red Kites serve up similarly grooving blues influenced riffs, but draw from a broader palette across the eleven tracks that make up debut album ‘Hotter Than The Sun’. Leaning into catchy melodies and memorable choruses, there’s an immediacy to the tracks here, a warmth indebted to Knightley’s voice which is at times reminiscent of Chris Cornell. But credit also to drummer Ash Sims and bassist Rob Hoey, who inject plenty of stomp and swagger throughout, ensuring that the likes of ‘Born to Lose’ and ‘Pearl’s Before Swine’ invite you to get up and move. ‘Karmic Rituals’ is dominated by a spectacular, juddering riff so addictive that you’ll find yourself going back for more. The title track is similarly hypnotic, a lust fuelled celebration of an enchanting woman that’s heavy on the wah pedal and heavier on desire, Knightley occasionally lowering his voice to almost a primal growl. It’s a technique he utilises again on ‘Trouble Again’, a song marked with attitude and slinky guitar prowess. ‘Sierra Starlight’ demonstrates restraint, the swampy, Southern styling quite different to the rest of the album but just as absorbing. Some of the best albums are the ones where it feels that every track has the potential to be a single, and that’s certainly the case here. ‘Stronger’ is particularly, er, strong, the uplifting sentiment of the chorus surely very effective on stage. ‘Hotter Than the Sun’ is out now. Come and feel the heat.

OUT 5TH JUNE VIA BIG MACHINE ROCK

SET FOR RELEASE ON OCTOBER 16, 2026, VIA FRONTIERS MUSIC SRL

I’m not sure I’d have paid much attention to Creeping Jean if they hadn’t put on an impressive performance supporting Rival Sons at Folkestone’s Leas Cliff Hall last year. Everything I’d read labelled the band indie, and hence, not of much interest to me (sorry indie fans!). But to see the band live was revelatory, an explosion of hard rocking riffs and charisma quite unlike anything else. So tonight I’m back in Folkestone, at the smaller Quarterhouse to see Creeping Jean step (or should I say creep?!) into the headline spot. I’ve had a look around, and there’s no sign of Jimmy Page in the audience which is a bit of a bummer; I’d hoped that his experience watching the band in London might have been enough to lure him to the South East coast! I’m joking, of course, but an endorsement from the Led Zeppelin legend is nothing to be sniffed at, and I’m surprised that it’s not a little busier in here. At £12.50 a ticket for three bands on a Saturday night, this deserves to be sold out. Thankfully, a bit of a crowd has formed by the time The Worry People make their entrance. A trio who look scarily young (but so many people do now I’ve hit my mid 30s!), they play the kind of guitar music that I struggle with. There’s nothing wrong with it, and actually, they’re very good at what they do. Guitarist and singer Sam Stewart has a lovely voice that (I think!) is reminiscent of Sam Fender. But, for me, indie just hasn’t got enough groove or riffs to really get me excited. In contrast, the three men who make up The Beyene Affair have more groove than most! Smooth and utterly funky, they are impressive musicians who successfully fuse jazz, soul and rock into their sound. They’re joined on stage this evening by Thomas Elliott, who occupies an unusual role in Creeping Jean. Part time tambourine shaker, singer, guitarist, and full time focal point as he dances across the stage, he’s relatively restrained in his guest spot, sticking largely in one place behind the microphone and filling out the harmony vocals. But returning to the stage with Creeping Jean, he’s an intense and dynamic presence; the perfect visual for a band who are as much about the aesthetic as the music. And if you’re wondering about the aesthetic, it’s all about flared trousers, snazzy boots and ornate rings, tousled long hair topping the look. It’s an image straight out of the 70s (and probably straight out of founder Olly Tooze’s vintage clothes shop!), and their raucous sound originates somewhere from that same era, though Tooze’s snarling vocals lend a more modern, garage rock feel to proceedings. I’m immediately taken with the big, grooving riffs of ‘Ten Kisses’ and ‘The Rattle’, but it’s the chemistry of the band that takes their performance to another level. Some groups just play the songs, Creeping Jean utterly inhabit them, and the energy is infectious. ‘Sassy Got Shakes’ is an invitation to dance, and though I’m sure I’m not “disco fire” like the lady described in the lyrics, I do at least find myself moving around a bit! From the dreamy, psychedelic throwback of ‘When’s the Blowout’ through the frantic restlessness of ‘Spice Rack’, there are no weak moments. An hour flies by in a flash, and of course we demand an encore. The choice of the Stones classic ‘The Last Time’ doesn’t exactly shake off the feeling that I’ve stepped back in time, but I’m all for it. If they hadn’t left their merch in Southampton, I’d have taken one of everything. Creeping Jean is a band you’ve need to go and see before the stages get bigger. Believe the hype - Jimmy Page knows a good thing when he hears it. SETLIST Ten Kisses/The Rattle/Spice Rack/When’s the Blowout/Sassy Got Shakes/The Big Cheese/Business is Dead/Money Road/Warm and Fuzzy/Bandit/The Last Time