Sunstorm changed its skin with the new album "Restless Fight", the third to feature lead vocalist Ronnie Romero (Rainbow, MSG, Lords of Black etc.). Romero’s debut album with Sunstorm, “Afterlife” was released in early 2021 and showcased a rejuvenation of Sunstorm's previous musical formula, mixing Melodic Rock/AOR with more '70s oriented hard rock, ala Rainbow (for which Romero performed as singer). The new line-up that backs Romero, comes from a heavy background, featuring Aldo Lonobile ( Secret Sphere, Ring Of Fire, Sweet Oblivion) on guitars, Andrea Arcangeli (DGM) on bass, Alfonso Mocerino (ex-Temperance, Virtual Simmetry) on drums and Antonio Agate (one of the most talented Italian keyboard players and arranger for symphonic orchestras, featured in countless albums) on keyboards, brings back the Sunstorm’s classic AOR/Hard Rock formula with a strongest dose of energy, reaching a more dynamic and bombastic approach.

Going by the title, the Retro: Active series from Canada's Hi-Bias label sounds like it could be a nightmare of new wave and '80s-alternative singles remixed by modern producers to put a new spin on old favorites. Thankfully, the label has simply plucked extended versions and remixes from previously existing 12" singles - like the ones you might have sitting in your closet, or the ones you heard in clubs or even on the radio.
A-ha, Erasure, The Cure, Orchestral Manoeuvres in the Dark, Alphaville, Duran Duran, INXS, New Order, Peter Schilling and many more.

Basically, there are two things that rock bands do: they make an album and they go on tour. Since Paul McCartney fervently wanted to believe Wings was a real rock band, he had the group record an album or two and then took them on the road. In March of 1976 he released Wings at the Speed of Sound and launched a tour of America, following which he released Wings Over America, a triple-album set that re-created an entire concert from various venues. It was a massive set list, running over two hours and featuring 30 songs, and it was well received at the time, partially because he revived some Beatles tunes, partially because it wasn't the disaster some naysayers expected, and mostly because – like the tour itself – it was the first chance that millions of Beatles fans had to hear McCartney in concert properly (the Beatles had toured, to be sure, and had played before millions of people between 1963 and 1966, but as a result of the relatively primitive equipment they used and the frenzied, omnipresent screaming of the mid-'60s teen audiences at their shows, few of those present had actually "heard" the group).