Category: news

Marking a first for the ex-Slipknot/Suicidal Tendencies drummer.

The post Jay Weinberg (Ex-Slipknot, etc.) Gets Behind The Mic For His New Collaborative Track With Softcult appeared first on Theprp.com.

Three summers ago we shared Serotonin, the debut album God Of War. The band — a collaboration between They Are Gutting A Body Of Water’s Doug Dulgarian and the two members of Hooky, Scott Turner and Sam Silbert — is back today with news of a second LP. It’s called Molly Picture, it’s dropping in a month, and two songs are streaming now.

The post TAGABOW/Hooky Side Project God Of War Announce New Album <em>Molly Picture</em>: Hear Two Tracks appeared first on Stereogum.

Live Gallery: Sammy Hagar – The Halls, Wolverhampton

6th July 2025
Photos: Tim Finch

We look back at the epic Sammy Hagar show through the eyes of our photographer Tim Finch!

Sammy Hagar

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Gallery: Sammy Hagar – Wolverhampton appeared first on The Razor's Edge.

Live Review: Sammy Hagar – The Halls, Wolverhampton

6th July 2026
Support: Jayler
Words & Photos: Tim Finch

There are few artists capable of turning a theatre-sized venue into something that feels like a packed arena, but Sammy Hagar has always thrived on pure energy rather than spectacle. Arriving at The Halls, Wolverhampton, armed with an all-star band featuring former Van Halen bassist Michael Anthony, guitar virtuoso Joe Satriani and drummer Kenny Aronoff, Hagar was primed to deliver more than two hours of classic rock performed by musicians who continue to prove that age has done nothing to diminish either their passion or ability.

Opening the evening was Jayler, a young British rock outfit who of late for their similarities to a young Led Zeppelin. Their sound blends punchy riffs with memorable choruses that connected quickly with an audience already primed for a night of hard hitting rock. The band attacked their set with confidence, making full use of the opportunity to perform in front of a packed house.

Their performance was tight, energetic and refreshingly unpretentious, with enough hooks to leave a lasting impression even on a crowd largely there for the headliners, although there were plenty of Jayler shirts on show too.

As the lights dropped, Sammy Hagar and company wasted no time getting straight to business, launching into ‘There’s Only One Way to Rock’ before immediately diving into Van Halen favourites ‘Top of the World’ and ‘Runaround’. It was a statement of intent.

Hagar looked genuinely delighted to be back on stage, constantly engaging with the audience, while Michael Anthony’s unmistakable backing vocals instantly recreated the signature harmonies that defined their Van Halen era. Joe Satriani faced the unenviable task of filling Eddie Van Halen’s shoes, but wisely chose not to imitate him, instead respecting the originals while injecting his own unmistakable style into every solo.

The setlist expertly balanced every chapter of Hagar’s career. ‘Big Foot’ brought the groove of Chickenfoot, while ‘Bad Motor Scooter’ served as a reminder of just how influential Montrose remain in hard rock history. Returning to the Van Halen years with ‘5150’, ‘Love Walks In’, ‘Why Can’t This Be Love’ and the colossal ‘Right Now’.

Aronoff’s drumming was relentlessly powerful throughout, Michael Anthony stepped into the spotlight for ‘Somebody Get Me a Doctor’, taking lead vocals while continuing to showcase one of rock’s most distinctive voices. Satriani then received a deserved moment of individual brilliance with an electrifying rendition of ‘Surfing With the Alien’, earning one of the loudest ovations of the night.

The closing stretch of the main set maintained an incredible level of intensity. ‘Good Enough’, ‘I Can’t Drive 55’, ‘Heavy Metal’ and the heartfelt ‘Eagles Fly’ highlighted the breadth of Hagar’s catalogue, proving he has far more to offer than simply his Van Halen legacy. Throughout the evening his voice remained remarkably strong, comfortably handling the demanding high notes while his enthusiasm never dipped.

The encore provided an emotional finale with ‘Encore, Thank You, Goodnight.’, Hagar’s tribute to Eddie Van Halen, before delivering one final unforgettable surprise. Joining the band was Jason Bonham, son of the legendary John Bonham, who took over drum duties as the musicians tore into Led Zeppelin’s ‘Rock and Roll’. It was a fitting conclusion to an evening celebrating some of rock’s greatest legacies.

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Review: Sammy Hagar – Wolverhampton appeared first on The Razor's Edge.

(written by Islander) The best anime death metal from China! That sounds like a narrow niche, doesn’t it? It’s also a description that leaves some big unanswered questions about what the music sounds like – questions we will help answer today. But first, there’s a question about the meaning of this band’s name – Dehumanizing […]

The post AN NCS ALBUM PREMIERE (AND A REVIEW): DEHUMANIZING ITATRAIN WORSHIP — “2D COMPLEX” appeared first on NO CLEAN SINGING.

There are bands that flirt with darkness, and then there are bands like Wailin Storms, who sound like they were born somewhere in the smoke between the burned-down church, the bad stretch of highway and the house at the end of the street nobody walks past after sunset.

The Durham, North Carolina Southern gothic rockers return this Friday, July 10, with The Arsonist, their fifth full-length and first for Season of Mist. But because waiting until Friday is for people with better impulse control than us, Decibel is streaming the full album two days early below.

Recorded fully analog by Matt Talbott of Hum, The Arsonist leans into the raw, human volatility that has always made Wailin Storms such an unnerving proposition. These nine songs don’t feel buffed, corrected or sanded down. They feel scorched. The band’s familiar blend of blues-punk grit, post-punk tension, gothic rock atmosphere, and murder-ballad menace is still intact, but here it sounds more direct, more fevered, and more willing to stare into the flames.

“I’ve always been fascinated by fire,” vocalist/guitarist Justin Storms says. “It speaks to our inherent attraction to danger and annihilation, but also, our hope for transformation.”

That fascination runs through the album’s mythology and mood. As a child in Corpus Christi, Texas, Storms came dangerously close to accidentally burning down his family’s house. Decades later, that early brush with destruction flickers through The Arsonist, alongside the grotesque Southern imagination of Flannery O’Connor, the doom-laden fatalism of Cormac McCarthy, the surreal menace of David Lynch and the shadowy dream logic of René Magritte.

Storms also painted the album cover himself, drawing particular inspiration from Magritte’s “Gaspard de la nuit,” which depicts a burning house beneath a thin moon in a desolate landscape.

“In this painting we see a burning house in a desolate landscape that’s situated directly underneath a fingernail moon,” Storms says. “There is a tiny scythe moon hanging up there in the lavender sky. The lazy cat eye moon is tucked between clouds that have been pulled apart by God like a buttery dinner roll. A jet-black raven sits in the lower-right corner of the painting and side-eyes the viewer in the foreground. The bird sits there in silence and waits patiently behind a red curtain like a bored deity.”

Opener “Dead End” sets the tone immediately, rattling into view like a nightmare you can’t quite wake from. “You Never Answered” turns modern disconnection into a deafening plea. “The Wind” blows through the record like a cemetery storm, while the slow-burning title track finds something almost tender inside the combustion: “Like the wind controls the sea / You always had a hold on me.”

“Wailin Storms has always wanted to capture that feeling of how we sound live,” Storms says. “On The Arsonist, we took that idea further and recorded the entire album fully analog with no computers involved. You do a take, and if you fuck up, your options for fixing the take are extremely limited and may not work. In a world where so much creative expression is getting filtered through AI, we wanted to make something that was unmanipulated and raw. You’ll hear the breaths, the clicks, even the tape hiss when you listen to the album closely.”

That approach gives The Arsonist its heat. These songs don’t feel assembled so much as summoned, the sound of a band trusting the take, the room, and the ugly little accidents that make rock music feel alive. The result could be a murder ballad, an old folk song sung around the campfire, or the last thing you hear before the hounds of hell start howling.

Hear The Arsonist in full below before it arrives July 10 via Season of Mist. The Arsonist is available for pre-order and pre-save here.

Wailin Storms 2026 The Arsonist U.S. Tour

July 17 — Durham, NC @ Stanczyk’s [Album Release Show]
July 29 — Johnson City, TN @ The Hideaway
July 30 — Atlanta, GA @ Star Bar
July 31 — Knoxville, TN @ The Pilot Light
August 1 — Cincinnati, OH @ Motr
August 2 — Youngstown, OH @ Westside Bowl
August 3 — Columbus, OH @ Dirty Dungarees
August 4 — Pittsburgh, PA @ The Government Center
August 5 — Baltimore, MD @ Metro Gallery
August 6 — Brooklyn, NY @ The Gutter
August 7 — New Hope, PA @ John and Peter’s
August 8 — Richmond, VA @ Cobra Cabana

The post Full Album Stream: Wailin Storms — <i>The Arsonist</i> appeared first on Decibel Magazine.