The band has also unveiled the album’s title track, “Beyond The Grave,” accompanied by an official lyric video, which can be viewed below.

From the outset, ARCHON ANGEL has been driven by the creative chemistry between Stevens and Lonobile.
Inspired by their shared love for SAVATAGE’s timeless legacy, the project soon grew into something much more, developing a distinct identity shaped by cinematic songwriting, soaring melodies, and outstanding musicianship.
With “Beyond The Grave,” ARCHON ANGEL reaches a new level in its evolution. The album finds the band fully embracing its own musical direction, offering a collection of songs that combine epic arrangements with deep emotion.

Zak commented: “I’m very excited to announce the release of our third ARCHON ANGEL album, ‘Beyond The Grave’! I thoroughly enjoyed working on this record. I think it’s our strongest effort to date. As far as the music goes, we’ve ventured into areas and inspirations that we haven’t previously explored. That’s a goal with every ARCHON ANGEL record, but we were able to explore a lot more angles during the writing of this one. All of the guys in the band and the entire writing team did a great job. We’re all excited to get this album out there for everyone to check out.”

With rich, carefully crafted arrangements, impressive guitar work, and memorable melodies, the album provides the perfect setting for Zak Stevens’s powerful and unmistakable vocals, making it the band’s strongest and most accomplished release to date.

With “Beyond The Grave,” ARCHON ANGEL demonstrates its artistic maturity and confidence, cementing its position as one of today’s leading melodic metal acts.

“Beyond The Grave” track listing:

01. Beyond The Grave
02. Bloodline
03. Without Eyes
04. You
05. Chasing Demons
06. Darkest Hour
07. Ethereal
08. Who Am I
09. Asylum
10. My Crime
11. As One

Recording line-up

Zak Stevens – Vocals
Aldo Lonobile – Guitars, bass
Marco Lazzarini – Drums
Antonio Agate – Synth and orchestral, piano and keys arrangements

Το άρθρο ZAK STEVENS: ANNOUNCED NEW ARCHON ANGEL ALBUM εμφανίστηκε πρώτα στο Myth Of Rock.

Marking the first release from the band’s new chapter, “Pound of Flesh” introduces the new DIETH line-up featuring Swedish bassist Tobias Cristiansson (GRAVE, NECROPHOBIC, ex-DISMEMBER) and offers the first glimpse into the band’s forthcoming second studio album, to be released through Fireflash Records in March 2027.

The accompanying official video translates that brutality into equally visceral imagery, combining an intense full-band performance with a raw visual representation of flesh being progressively cut, torn and destroyed – mirroring the song’s lyrical progression from “Beating Heart” to “Ripped Apart” and finally “World Torn and Marred.”

Vocalist and guitarist Guilherme Miranda comments: „“Pound of Flesh“ is brutal, and that’s exactly what I wanted this song to be. Musically and lyrically this is one of my favorite things we’ve done, and I’m very excited because it is a new chapter for DIETH. New song, new line-up, new video, new album coming – I really can’t wait for you guys to hear and see what we’ve been working on.”

DIETH – new line-up:

Guilherme Miranda — Guitar / Vocals

Michał Łysejko – Drums

Hubert Więcek – Guitars

Tobias Cristiansson — Bass

Musically, “Pound of Flesh” sees DIETH pushing into an uncompromising blend of death and thrash metal – fast, aggressive and deliberately brutal.

Lyrically, the song was inspired by the Sack of Magdeburg in 1631, one of the most devastating atrocities of the Thirty Years’ War, while drawing a parallel between the horrors of the past and the wars that continue to unfold in the modern world. Rather than glorifying conflict, “Pound of Flesh” strips war down to its most primitive reality: ruined cities, nameless graves and human beings paying the ultimate price. The recurring lines “Pound of Flesh / Beating Heart” capture the central idea behind the song – behind politics, territory and ideology, the true cost of war is ultimately measured in human life.

Picture by Maurizio Del Piccolo

Το άρθρο DIETH: NEW SINGLE AND VIDEO OUT NOW (“POUND OF FLESH”) εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

What does the electric guitar mean to you personally? Is it more than an instrument?

Absolutely. For me, the electric guitar is a way of expressing things that I sometimes cannot put into words. It’s a voice, an extension of my personality, and a way to communicate with people. I’ve always believed that music can say things that words simply cannot. The guitar has been part of my life for so long that I don’t really see it as a separate thing from who I am.

Do you remember the first guitarist who made you want to pick up a guitar and play? In your opinion, are there any new guitarists that stand out? Name three of them please!

Stevie Ray Vaughan was the guitarist who really made me want to pick up a guitar and play. There was something incredibly powerful about his playing. The tone, the attack, the phrasing, the emotion — everything felt so raw and honest. He showed me that the guitar could be much more than an instrument. His influence on me goes beyond the notes he played. It’s about the way he made you feel every single one of them.

As for today’s guitarists, I’d mention Eric Gales, Kingfish and this guy, Ariel Posen. They all have very different approaches, but what I appreciate about them is that they have their own identity. That’s what excites me most about a guitarist.

Stefanos, Sakis, Babis, you all participate in Guitar Experience vol. 4. What do you think connects the three of you as guitarists?

I think what connects us is our love for the instrument and the need to express ourselves through it. Of course, we all kinda have different musical backgrounds, influences, and approaches, and that’s exactly what makes an event like this interesting. We’re there to share our individual musical worlds with the audience. At the end of the day, the guitar is the common language, but everyone has their own story to tell.

How has your relationship with the guitar changed since you first started playing?

When I started, I was fascinated by the instrument itself and by the guitarists I admired. I wanted to learn, improve, and discover what the guitar could do. Over the years, my priorities have changed. Today, I’m less interested in what I can play and more interested in what I have to say through my playing. You learn that sometimes one note can be more powerful than a hundred. The journey is never-ending, but the older I get, the more I value simplicity, honesty, and personality.

Blues, rock, funk, jazz, instrumental music, all meet in your musical worlds. How important is it for you to keep experimenting instead of staying inside one genre?

It’s extremely important. I’ve always loved blues and rock, and they’re a huge part of my musical identity, but I don’t want to put limits on myself. Music has no borders, and I get excited when different influences come together naturally. You can take the raw emotion of the blues, the energy of rock, the groove of funk, and the harmonic possibilities of jazz, and create something that feels completely your own. I’m not interested in mixing genres just for the sake of it. I want everything I play to feel honest and natural, whatever the influences may be.

You have all played with many different musicians and in very different environments. What have other musicians taught you about playing the guitar that you could never have learned alone?

Playing with other musicians teaches you to listen. You can spend hours practicing alone, but you can’t fully learn interaction, chemistry, timing, and the ability to react to another musician until you’re actually playing together. You learn when to lead, when to support, and when to leave space for someone else. Some of the best musical moments happen spontaneously, when nobody is trying to control everything. Those experiences have taught me that being a good guitarist isn’t just about what you play — it’s also about what you make possible for the other musicians around you.

How different is playing guitar on stage in front of an audience from playing in the studio? Which one brings out the best in you?

They’re two very different experiences, and I love both for different reasons. In the studio, you have the opportunity to explore details, experiment with sounds, and work on the smallest aspects of a performance. On stage, everything becomes more immediate. There’s energy coming from the audience, and every night is different. You have to trust your instincts and embrace the moment. If I had to choose, I’d definitely go with live performance. There’s something unique about the energy exchange between the musicians and the audience that you simply cannot recreate in the studio. I love the spontaneity, the freedom, and the fact that anything can happen in the moment. That’s where I feel most connected to the music, and I believe that’s where I express myself best as a guitarist.

You will share the same stage at Guitar Experience 2026. What are you personally looking forward to hearing from the other two guitarists that night?

For me, these kinds of gatherings are always like a masterclass. No matter how long you’ve been playing or how much experience you have, there’s always something to learn from other musicians. Everyone has a different approach, a different sound, and a different way of expressing themselves through the instrument. I’m really looking forward to hearing Stefanos and Babis, discovering their musical worlds, and sharing that experience together. I believe that when musicians with different personalities come together, everyone walks away with something new. And that’s one of the most beautiful things about music — you’re always learning.

Why should Greek fans not miss the Guitar Experience vol. 4 event? Send a message to them!

Because this is a chance to experience the electric guitar up close, through three different musical personalities, each with a different story, sound, and approach. It’s not just about technique or guitar solos. It’s about energy, expression, creativity, and the connection between musicians and the audience.

If you love the guitar, rock, blues, or simply live music played with passion, come and be part of it. Bring your ears, your energy, and your love for music. We’re looking forward to sharing a great night with you. See you there!

Το άρθρο GUITAR EXPERIENCE VOL. 4: SAKIS DOVOLIS – LET THERE BE GUITAR (interview) εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

photos by Iro Kalligeri (@irokalligeriphotography)

The promoter’s decision to hold the concert indoors proved to be absolutely right and successful, as the Purple’s show coincided with bad weather. This Autumn evening in Athens was rainy, which would have caused considerable inconvenience for everyone. So, on Tuesday afternoon, we headed to the concert equipped with an umbrella and soon found ourselves inside the venue. Although it was a regular working day, quite a few people had already gathered in the arena and the stands of Telekom Center. Nothing was going to stop the fans from enjoying Deep Purple, and the venue soon filled up, as we will see below.

The opening act was Jayler, an English band from the West Midlands, formed in 2022, who released their debut album, “Voices Unheard”, just a few months ago. From the moment they stepped on stage, it was clear that they play hard rock influenced by the ’70s and the giants of that unforgettable era! With a look and sound inspired by bands such as Led Zeppelin, Aerosmith, Free, AC/DC and others, the quartet delivered a fantastic performance and played really well. Their songs, some simpler and others more adventurous, were thoroughly interesting, while their performances, full of passion and a rebellious spirit, transported us back to the days when hard rock was flourishing. It was as if they had travelled from the past to the present in a time machine! Jayler proved to be the ideal band to open for Deep Purple! We had a great time with them, they really warmed us up, and I have to say I would have loved to hear them play for quite a while longer!

After the pleasant surprise that the young guys in Jayler had been for us, our minds turned back to the evening’s great headliners. The last time we had seen Deep Purple, they had been really good, and Simon McBride had been a revelation. We were hoping they would deliver the same kind of performance again and that Purple would be in good shape. And that’s exactly what happened! When the intro started playing on the video wall behind the stage, an entire arena felt the chills. Slowly, Deep Purple appeared before us, and the place went wild! “Highway Star” was chosen as the opening song, and the concert couldn’t have got off to a better start. Roger Glover, Ian Paice, Ian Gillan, Don Airey and Simon McBride were standing right in front of us, and you can imagine how emotional the moment was! However, it was clear that Gillan was struggling. At first, his voice wasn’t particularly strong or in great shape, but he gradually warmed up and improved considerably as the show went on. Glover and Paice were the ultimate rhythm section, McBride impressed us with his flawless playing and Airey painted beautiful musical pictures with his keyboards! The setlist was superb, featuring many of the band’s classic songs, as well as tracks from their latest album. Among others, we heard “Into the Fire”, “Smoke on the Water”, “Space Truckin’”, “Lazy”, “Sometimes I Feel Like Screaming”, “Perfect Strangers”, and more. The crowd sang, danced, went crazy, and gave the hard rock veterans the adoration they deserved. The instrumental solos were fantastic (Airey once again paid tribute to us by playing the theme from “Zorba the Greek”), the five musicians were full of energy, and the whole concert had a festive, magical atmosphere! The production was also top-notch, with flawless sound and lighting. And so, the concert came to a triumphant end, with Deep Purple bringing down the curtain after “Black Night”.

And so, a great concert took place, one that has already been written in golden letters in the concert history of our country. Deep Purple were magnificent, delivering a performance worthy of their immense legacy and legendary name! Deep Purple forever!

Το άρθρο DEEP PURPLE, JAYLER – TELEKOM CENTER, ATHENS, GREECE – 13/10/2026 εμφανίστηκε πρώτα στο Myth Of Rock.

On Wednesday, October 14, Glenn took to Instagram Stories to share the following message: “Now home after an eight day stay, and a 10 hour open heart surgery, operation, at UCLA, Ronald Reagan, Medical Center. Gratitude beyond”.

When Hughes announced his retirement in early August, he explained that he had “no option” but to undergo the procedure, which required opening his chest to operate on the heart’s muscles, valves or arteries.

“This past year, I’ve had some health issues,” Glenn wrote at the time. “The results from numerous MRIs, CT scans, and an echocardiogram have alerted my medical team, that I need another open-heart surgery.

“I really have no option and no choice as health is my number one priority,” he explained. “Grateful to have been chosen with a life full with the gift of music… Thank you for walking beside me.”

Glenn Hughes photo by Iro Kalligeri (@irokalligeriphotography)

We wish Mr. Hughes a good and speedy recovery!

Το άρθρο GLENN HUGHES: RECOVERING NOW, AFTER A 10-HOUR OPEN-HEART SURGERY εμφανίστηκε πρώτα στο Myth Of Rock.

The 40th-anniverasary edition of MOTÖRHEAD’s classic album “Orgasmatron” will be made available on November 6 via BMG.

Next up in the 40th-anniversary celebration, “Orgasmatron” shifts into top gear with “Built For Speed”, the second single from Cameron Webb’s brand-new remix of the whole album, created from the original multi-tracks. A full-throttle MOTÖRHEAD classic and live staple, “Built For Speed” does exactly what it says on the tin: huge riffs, Lemmy’s unmistakable bass and vocals, and a relentless charge from start to finish.

Originally released in 1986, “Orgasmatron” featured the lineup of Lemmy, Phil Campbell, Würzel and Pete Gill. It marked a new chapter for the band, pushing further into heavier territory while retaining the speed, aggression and raw energy that had defined MOTÖRHEAD from the beginning.

The album’s production was the subject of much discussion among the band and their fans, but beneath it was a formidable collection of songs. “Orgasmatron”, “Deaf Forever” and “Built For Speed” became key parts of the MOTÖRHEAD live repertoire, while the album’s combination of hard rock, heavy metal and punk influences gave it a character all of its own. Four decades on, “Orgasmatron” has taken its place as one of the most distinctive and respected records in the MOTÖRHEAD catalogue.

Now, 40 years after its original release, “Orgasmatron” is revisited in a new anniversary edition that explores both the album itself and the story behind its creation. The original studio recordings have been remastered for the anniversary and cut at half speed from the original tapes, while longtime MOTÖRHEAD collaborator Cameron Webb has created a brand-new remix and remaster from the original stems.

Το άρθρο MOTÖRHEAD – “BUILT FOR SPEED” (CAMERON WEBB 40TH ANNIVERSARY REMIX) εμφανίστηκε πρώτα στο Myth Of Rock.

♦ 8/10

Dimitris Zacharopoulos

Το άρθρο ETHEREAL VOID – “PRIMORDIAL DISSONANCE” (2026, SPINEBUSTER ENTERTAINMENT) εμφανίστηκε πρώτα στο Myth Of Rock.

Thursday, October 15),NIGHTWISH released the following statement via social media: “NIGHTWISH and Floor Jansen part ways.

“After careful consideration, we have, in mutual agreement, decided to part ways. This decision is necessary and important to us and our future ambitions. Thus, we will now pursue those goals in our own separate ways. We wish each other nothing but the very best on our respective artistic journeys.

“For you, dear listener, and indeed for us, this marks the end of a truly great voyage.

“NIGHTWISH will continue. We will move forward and enter the studio in 2027 to record a new album.

“As we celebrate 30 years of NIGHTWISH, we couldn’t be more excited about our music and our future.”

In a separate statement, Floor wrote: “Endings create new beginnings, and even though it was a hard decision to make, I believe there is a bright musical journey ahead of me. I invite you to follow along on this path, as you were with me in all the great years before.

“Thank you for your support through the rollercoasters of life.

“My solo career will now get all of my attention and gives my new upcoming album ‘Hytress’ (out 2027) and the tour all space to grow. Hope to meet you on the road again in a near and happy future.

“With love and respect, Floor”.

Floor Jansen photo by Iro Kalligeri (@irokalligeriphotography)

Το άρθρο NIGHTWISH PART WAYS WITH FLOOR JANSEN! εμφανίστηκε πρώτα στο Myth Of Rock.

For “High Noon”, Blondie once again open the door to a broad mix of sounds, ideas and collaborators. Rock & roll and punk sit alongside dance music and Latin rhythms, with contributions from Johnny Marr, Glen Matlock, Zach Condon of Beirut, Jess Wolfe and Holly Laessig of Lucius and others woven throughout the album.

“High Noon” also marks the final recording of Blondie co-founding drummer Clem Burke. At the outset of recording, the band had no way of knowing the significance the album would later carry. Following Burke’s passing, the record has taken on additional meaning for the band and serves as a document of one of rock music’s longest-running creative partnerships.

“This album is classic Blondie – an amalgamation of all our different influences and eras into something new,” says Debbie Harry. “This music feels grounded in the present, shaped by who we are and how we’re living now.”

“It’s been a long, strange ride, and somehow here we are with another Blondie album,” says Chris Stein. “I’m not sure what the fuck I’m supposed to say at this point, except that we’re incredibly grateful for all your support over the years.”

Leading “High Noon” is the driving “Spectral Eyes”, written by Johnny Marr, who also contributes guitar to the song. The song pairs crystalline riffs with a steady beat and a bright, hypnotic chorus, setting the tone for the album to follow. Energetic, enigmatic and unmistakably Blondie, ‘Spectral Eyes’ finds the band doing what they have always done best: stretching their sound without losing sight of what makes it their own.

Sessions for “High Noon” began in 2022, with the band recording in New York City alongside producer John Congleton [St. Vincent, The War On Drugs, The Killers], who previously worked with Blondie on their critically acclaimed 2017 album Pollinator. Much of the material was tracked together in the same room, reflecting the collaborative approach that has long defined the band. David Wrench [Florence and the Machine, Jamie XX, Frank Ocean, Bon Iver] later joined for additional production and mixing.

The visual world of “High Noon” was conceived by artist and director Rob Roth, who has collaborated creatively with Blondie for more than 25 years, dating back to 1999’s No Exit. For “High Noon”, Roth mixes cinematic imagery, analog textures and contemporary references into a visual language that draws on Blondie’s history without being bound by it. That world will continue to unfold through the album’s visuals, including an upcoming short film created and directed by Roth, featuring music from “High Noon”.

“I wanted to create something unexpected, but something that still feels quintessentially Blondie,” says Roth. “”High Noon” exists in its own world – somewhere between the past, present and future. There are references to different eras and the band’s history, all mixed together to create something that feels both familiar and new.”

That same interplay between past and present also runs through the music itself. Highlights include ‘Heartbreak Kid’, written by Chris Stein with Johnny Thunders in mind, looks back toward the band’s downtown New York roots, while ‘Sleepwalking’, written by Glen Matlock, brings a gritty punk energy. ‘Man Who Had No Face’, written by Stein and Harry, pairs pulsating keys and electric guitar with one of Harry’s most vivid lyrics on the record. The band also revisits ‘Little Metal Drummer’ originally recorded by Blondie co-founding keyboardist Jimmy Destri for his solo debut ‘Heart On A Wall’, with both Harry and Clem Burke having performed on the original recording.

More than fifty years after emerging from New York’s downtown music scene, Blondie continue to reach new generations of artists and audiences, and their influence extends beyond music into fashion, film, art and popular culture. “High Noon” shows why: the band remains as curious and open to new ideas and sounds as they have been from the beginning.

“High Noon” will be available on black vinyl and CD, with a limited-edition crystal clear ecovinyl available at select retailers. The official Blondie stores will also offer an exclusive limited-edition red vinyl and cassette, along with merchandise bundles.

“HIGH NOON” TRACKLISTING:

1. Spectral Eyes
2. Heartbreak Kid
3. Come Back Home
4. Tambo Tambo
5. Man Who Had No Face
6. The End
7. Little Metal Drummer
8. Sleepwalking
9. Whistle Into The Wind
10. Antifreeze
11. East of Eden
12. Bad Underwear
13. Ah, Sunflower, Weary of Time

photo credit: Maddy Rotman

About Blondie

Blondie has occupied a singular place in music and popular culture for more than five decades, and remains undeniably one of the most trailblazing, influential and culturally enduring bands of our time. Emerging from New York City’s downtown scene in the 1970s, the band moved freely between punk, new wave, disco, pop and hip-hop, to become a true global icon whose influence has both shaped and continues to inform the cultural conversation across generations, in the worlds of music, fashion, art and beyond. From an irreverent Lower East Side punk outfit to bonafide international ambassadors of New York cool. Their chart-topping success, fearless spirit and rare longevity led to an induction into the Rock‘N’Roll Hall of Fame in 2006, more than 40 million albums sold worldwide, two UK #1 albums, six UK #1 singles, and more. As Blondie stride into the next chapter with High Noon, they once again reaffirm their status as one of the world’s most enduring, bold, and influential bands of all-time.

Το άρθρο BLONDIE: NEW ALBUM TO BE RELEASED IN FEBRUARY 2027 εμφανίστηκε πρώτα στο Myth Of Rock.

Through these diverse characters, the former DELAIN vocalist paints a fragmented picture of humanity, exploring the different ways we respond to collapse, from denial, anger and faith to withdrawal, hope and revenge, along with everything in between. All these perspectives come together in a sonic multiverse that refuses to be confined to a single genre.

The album’s release coincides with Charlotte Wessels’s first-ever European headlining tour, which kicks off on February 4, 2027, in Sint-Niklaas, Belgium, just one day before the album arrives.

Charlotte comments: “I didn’t set out to write a concept record from the start, but somewhere along the way, I began to realize that all the latest songs I’d written were connected. Each of them seemed to embody a different response to the world we’re living in: Denial, complicity, withdrawal, blind obedience, selective empathy, but also hope and connection, and so on. I started to recognize these recurring themes and archetypes, and eventually realized they were all part of a much bigger story. I found myself wanting to follow this thread as far as it would take me, exploring the concept through the music first, and eventually through the artwork and imagery, too. That discovery became the foundation for ‘Mute Swan Empire’.”

She adds: “What fascinates me is how easy it is to recognize these responses in others, and how much harder it can be to recognize them in ourselves. I didn’t want an album that simply points fingers or offers easy answers. I wanted to explore the contradictions, the uncomfortable grey areas, and the possibility that we can change.”

“Musically, the same freedom to follow wherever a song leads has resulted in a record that moves between some of the heaviest music we’ve made and moments of vulnerability. Despite how varied the record is, I think we’ve never sounded more together like a band. Everyone brings something distinct to the music, and I’m really proud of what happens when all those elements come together.”

The title “Mute Swan Empire” draws inspiration from the myth of the swan song, the belief that a swan sings its most beautiful song just before it dies. Throughout history, individuals, cultures, and civilizations have had their own swan songs — final moments of beauty, meaning, or grandeur before fading away. With “Mute Swan Empire”, Wessels poses a question: “What if we don’t get one? What if we’ve pushed ourselves so close to ecological and social collapse that we’ve lost, or no longer deserve, that final act of grace? Will the swan remain silent?”

Musically, the album continues to explore the space between heavy music and alternative influences, combining intricate arrangements, expansive atmospheres, powerful vocal performances and the band at its very best. The musicians Charlotte Wessels originally brought together for THE OBSESSION have since adopted the name themselves, evolving into a tight-knit live band through years of touring. This shared experience, along with a more intensive production process with Joost Van Den Broek at Sandlane Studios and Timo Somers contributing to the arrangements at the top of his game, allows the band’s collective identity to take centre stage. The result is a more cohesive sound that retains its dynamic range, shifting between powerful, hard-hitting passages and moments of striking intimacy.

“Mute Swan Empire” track listing:

01. Incubus
02. In Leta Via
03. Tempest
04. After Us The Flood
05. Good Girl (If You’re Ready To Die)
06. The Hermit Song
07. Emergency Kit
08. One Day They Will Come For You
09. Weeping Madonna
10. This Is Not An Opinion
11. The Villain
12. Let The Music Decide
13. Incantations
14. Starling
15. Bells Of Lynn

“Mute Swan Empire” draws inspiration not only from the current state of the world but also from the ways people respond to it and how deeply rooted some of these reactions can become. Charlotte also found inspiration in books, poetry, film and literature. The album features writings by two medieval mystics, Hildegard von Bingen on “In Leta Via” and Julian of Norwich on “The Hermit Song”, alongside text from the Dutch “Denk Vooruit” campaign incorporated into “Emergency Kit”.

“One Day They Will Come For You” is inspired by Martin Niemöller’s post-war confessional prose piece “First They Came For The Communists”, while “Bells Of Lynn” was inspired by and incorporates fragments of the poem of the same name by Henry Wadsworth Longfellow.

Το άρθρο CHARLOTTE WESSELS’s THE OBSESSION: NEW ALBUM ANNOUNCED εμφανίστηκε πρώτα στο Myth Of Rock.