Category: news

Headline‘s guitarist Didier Chesneau shared sad news that their vocalist Sylvie Grare has passed away. Sylvie was part of the ranks since the very beginning.
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They also played a few bonus tracks in addition to running through their debut album in full.

The post Fan-Filmed Footage Of Bring Me The Horizon’s Entire First “Count Your Blessings” 20th Anniversary Show Available appeared first on Theprp.com.

In a contender for the year’s most unlikely collaboration: country megastar Shania Twain has recruited Queens Of The Stone Age frontman Josh Homme to appear on her new single, .

Homme adds his instantly recognisable voice to the chorus of Faded Blue Jeans, which will appear on the Nashville star’s upcoming album, LIttle Miss Twain.

The upcoming album has been pitched as a return to her roots, and the stripped-down Faded Blue Jeans seems to back that up – it’s a long way from the glossy, Mutt Lange-produced country-pop of That Don’t Impress Me Much.

As if her musical hook-up with Homme wasn’t enough, Twain recently outed herself as a fan of polka-dotted microtonal math-rock pranksters – and fellow Canadians – Angine de Poitrine after the two acts appeared on BBC music show Later… With Jools Holland.

“I got to meet [Angine de Poitrine]!!” Twain enthused on Instagram. “My son Eja got me into them so imagine my excitement when I found out we were on the same Later… episode!”

Twain recently wrapped up a tour supporting Harry Styles. Little Miss Twain is released on July 24, complete with Homme guest spot – though whether it also features Angine de Poitrine is another matter.

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Two years have passed since Hamburg-based glam n sleaze metal act Night Laser delivered an artistic quantum leap with the release of their fourth album, ’Call Me What You Want‘, and their European tours alongside Axel Rudi Pell. Looking back, these major events have proved to be creative catalysts with brilliant results: Their latest album […]

The post New Night Laser Album ’Rats In The Cradle‘ To Be Released September 25th appeared first on ROCKPOSER DOT COM.

The MetalTalk Lowdown. Baz Mills fronts Massive Wagons, the Cumbrian rock band known for their no-nonsense, good-time anthems and a fanbase as loyal as any in the UK scene. Before joining the band, he worked in a quarry, a fact he’s not shy about missing.

Massive Wagons released their new single Story Of My Demise yesterday, with a new album due later this year. Baz Mills lives with his family and, by his own admission, is far more interested in gardening than anything resembling rock ‘n’ roll excess.

What’s the most Metal thing you’ve ever done off stage?
I am very boring these days. Very, very boring. Gardening is what I get up to, and I like my old car. I’ve done some Metal things over the years, but it was a long time ago. I would rather not talk about them. This is neither the time nor the place for that conversation. 

What’s the worst gig you’ve ever played, and why?
None of them has been terrible, but if I had to pick one for me personally, it would be Glasgow SWG3 on the Earth To Grace tour. I was ill. I had no choice but to go on stage. There were 1,000 people there to see us. I couldn’t pull the gig.

I explained to the people in the crowd that I wasn’t well and I didn’t want to let them down, and I appreciated them coming, and if I wasn’t up to the job, I apologised. My voice was terrible. But we got through it, and everyone was amazing and made me feel amazing. I felt terrible. I felt so small and alone on the stage. It was horrible trying to get through a gig like that. The fans helped us get through it without a doubt, amazing.

What’s the best gig you’ve ever played, and why?
Probably the first time we played Download. You never think as a band you’re gonna play Download, not as a grassroots band anyway. You never think you’re gonna get to that level. Played a 20-minute show, Download, about 5 songs. The tent was absolutely rammed. It was bouncing, and it felt like it was over in about two minutes. The biggest buzz of my life.

Would you choose a platinum record or one perfect, legendary live show?
A live show, as corny as it sounds. You go down in history. It’s all about great memories and giving people a good time. Live music is such a unique experience. Hopefully, we recorded it, and hopefully I could sell it and cream it for the rest of my life. Some bands do that, don’t they? 

What’s your greatest fear?
Aldi is stopping selling their fresh cream toffee cakes, ‘cos they’re frigging amazing.

What’s the trait you most deplore in yourself?
Being a tight arse, to be honest. I don’t mind spending money, but I like to save money. I’m a bit cautious, maybe. Maybe I could deal with opening my wallet a bit more.

What’s the trait you most deplore in other musicians?
You go to festivals and venues, and we get it all the time. They’re so surprised by how nice we are and how easy we are to work with. That should be normal, shouldn’t it? I’m most deploring of musicians and artists treating the venue staff and festival staff like they’re beneath them. They get it a lot. Temper tantrums and paddies and I want this and stamping their feet. It doesn’t wash, does it? A lot of big baby nonsense. 

Describe yourself in three words.
Boring. Passionate. I’m very, very passionate about this band and the things I do. And dad, cos that’s my number one job. I’m a boring, passionate dad.

What’s your guiltiest pleasure?
The cream cakes from Aldi. 

What does a great riff feel like to write?
I’ve never written one. But it is a great feeling hearing one from Adam or Stephen, knowing it’s gonna be a pleasure writing words over it. That is an amazing feeling. When you get something from them lads, and it virtually writes itself. Good songs write themselves. They’re a pleasure to write. They’re easy to write. It’s brilliant.

What’s the worst thing a fan has ever said to you?
I can’t think of anything off the top of my head. You get certain fans slagging off other fans, and I think just wind your neck in. We’re all here to enjoy the music and have a good time, aren’t we? Don’t take it so bloody seriously. 

What’s the worst thing a critic has ever said to you?
I couldn’t really care less what critics said, to be honest. Well, only if it’s nice. Being in a band, you learn to have thick skin pretty fast. It might have been a gig in Wrexham. A guy came to review us, and he left after Those Damn Crows played. He filled in for the guy who was supposed to be there. Then the guy who was supposed to be there reviewed our live show, and he wasn’t even there.

His review was just slagging us off. Rick Le Pen is the guy who’s in the song Glorious. If you’re reading this, you were not even there. How can he slag our gig off if he wasn’t even there? 

If you weren’t in music, what would you be doing?
I’d probably still be working in the quarry like I was before this band. I enjoyed it. Good lads, good craic. I was loading wagons on a loading shovel. It was good. 

What’s one album outside your genre you secretly love?
I’ve never mentioned before, but I really do like Graceland by Paul Simon. I don’t think it’s anything to be embarrassed about because it’s an amazing album. 

When did you last cry, and why?
Two weeks ago. I was singing a new song for this album to Terri [Chapman, Massive Wagons Manager] called Remember Me. I cried singing that. Hopefully we can get some of that emotion into the song in the studio, because that’s what it means. I found it very moving to write it.

What keeps you awake at night?
This heat.

Riffs, royalties or recognition, if you had to choose?
Ordinarily it probably would be recognition, to be honest. I would like to be recognised as a good songwriter. We’re a good band, and we write good songs. But over the years, it’s faded down. I have a daughter, and her future is my number one concern, so royalties. If I can make as much money out of this, and I can set her up for a good future, well, that’s, that’s my main concern. That’s all I’m interested in, really.

How do you want to be remembered?
Being part of a great, solid band that writes great songs and gives people a lifetime of memories. A good time band, a good guy, and somebody who people can look back on and go, you know, we had some great times with that band. They were a part of my life. That would do it for me.

What’s the most important lesson the road has taught you?
Never eat a curry on the tour bus. Number ones only in the toilet. I’m telling you now, don’t eat anything spicy on the road. You will regret it. You will be caught short. 

What happens when the music stops?
Hopefully, I’ll be dead by then, and I’ll never know the answer to that question.

The post Baz Mills: “My greatest fear? Aldi discontinuing their cream toffee cakes” first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Following the incredible response to their sold-out debut performance at the legendary Arcada Theatre earlier this year, The Purple Daisies are back! Due to overwhelming fan demand, The Purple Daisies will perform a second show on October 2, 2026, at The Canyon Club in Los Angeles. Tickets are available – here. Bringing together the powerhouse line-up of […]

The post The Purple Daisies Return For An Encore Performance At The Canyon Club This Autumn appeared first on ROCKPOSER DOT COM.

In 2010 Prog looked back on supergroup GTR, formed by Genesis ex Steve Hackett and Yes’ Steve Howe in 1985, lamenting the fact that the promising project never moved beyond one album, and that their first single turned out to be their greatest moment.

On the surface it was one of the world’s more fascinating supergroups – the combination of guitarists Steve Howe (Yes) and Steve Hackett (Genesis). But ultimately the project never got the chance to develop and fizzled out in a matter of months.

“The idea came from Steve Howe’s manager, Brian Lane,” explains Hackett. “Steve and I knew each, of course, and Brian thought our styles would be complementary.”

So GTR was born in 1985, with a line-up completed by vocalist Max Bacon, bassist Phil Spalding (who’d worked with Mike Oldfield) and drummer Jonathan Mover (briefly associated with Marillion), and the first song the guitarists worked on was to prove their biggest hit.

“We played each other some stuff we’d worked on separately,” Hackett says. “Steve had an idea for the instrumental opening for a song. I had a tune that we could add, so we started to construct When The Heart Rules The Mind.”

It would to be the debut single released by GTR in 1986, making it to Number 14 in America – proved their most successful market. “We were lucky to sign to Arista Records. The owner was Clive Davis, a real mover and shaker in the music business. That helped us to get noticed in the US, and that’s where we did most of our work.”

However, the band had to fight hard to have When The Heart released as the first single. Davis, for instance, had other ideas. “We had another track called The Hunter, and that’s the one he wanted out.” That would eventually be the second GTR single, which barely touched the US Top 100. “But we insisted When The Heart should go first.”

Hackett puts down the track’s failure on home soil to a lack of media support. “We got a lot of airplay in the US – MTV were playing the video every hour. The same never happened in the UK.”

Although their self-titled debut album did well in America – making it to Number 11 – the band soon fell apart. “I thought we could have followed a similar path to Queen. But in the end, When The Heart Rules The Mind was our strongest song, and the whole thing was short-lived.”

Hackett revamped the song in 2018, in collaboration with another Steve – this time Marillion’s Rothery. “I think it’s the strongest thing Steve Howe and I wrote together,” he explained, “and I always wanted to do a version where I would sing it myself with the use of today’s production techniques.”

Looking forward to his upcoming tour, he predicted: “It’ll be great to play both North and South America again celebrating Genesis, solo and GTR.”

SteelHeart .

The post SteelHeart unveil cover of Badfinger track “Without You” first appeared on Sleaze Roxx.

The blue man said tonight
“Freedom never been a right.”
“Everybody’s going to have to fight
So get ready for a bloody night.” 

There are seasons when a nation seems to mistake the cracking of its own foundations for ordinary noise. During the second Trump administration, America has often appeared to wander through such a season, pausing to quarrel over shattered marble while flesh and spirit were breaking in quieter places. The murders in Milwaukee, the desecration of monuments in Washington, the strange humiliation of the Kennedy Center – each became a spectacle, each another bright object swung before exhausted eyes. Yet spectacle has always been the oldest accomplice of sorrow. It teaches a people to count broken statues more readily than broken children.

Beyond the glow of our laptops and phones, the older tyrannies kept their appointments. War continued its patient arithmetic. Famine hollowed faces far beyond the reach of campaign speeches. Pestilence found the neglected, as it always has. And everywhere the machinery of online persuasion has hummed without rest, sanding memory smooth, filing every outrage into competing narratives until grief itself became another commodity, measured in ratings and shared by algorithm.

A republic rarely dies in a single thunderclap. More often it is worn away by the thousand small permissions a frightened people grant themselves: the permission to look away, to trade witness for comfort, to mistake distraction for history. What remains, after the slogans have faded and the monuments have either fallen or been rebuilt, is the measure of what we were willing to love while everything else was being taken from us. That ledger is kept not in stone or bronze, but in the conscience of those who remember what the noise was trying to drown out.

Devo’s Gerald V. Casale has announced Just Do It!, the first single from his forthcoming full-length solo album, Wetiko, with an animated video that turns the American republic into a diseased children’s program. The song, completed between Devo tour dates late last year, features longtime Devo touring members Josh Hager on guitar and keyboards and Jeff Friedl on drums, alongside Die alten Maschinen.

“America is celebrating its freedom under the rule of a homegrown dictator,” he says. “The irony was too irresistible…The idea for the lyrics and concept came to me during Trump’s first administration in 2016. It was already obvious then that he was an anti-democratic tyrant. Since his return in 2024, he’s become exponentially more unhinged.”

The lyrics turn Trump into a carnival tyrant, an orange boss barking blame while democracy gets tossed into the fryer. Kingship, punishment, and forced dancing collide in a nursery-rhyme nightmare where freedom becomes a lie, obedience becomes choreography, and the crowd bounces toward violence on a trampoline wired for collapse.

The video takes the song’s accusation and runs it through a carnival mirror smeared with greasepaint and bad faith. Donald Trump leads a MAGA zombie army. Jeffrey Epstein beams down as the Teletubbies’ sun. Elon Musk, Bill Gates, and Bill Clinton wobble through the frame as warped children’s television idols, the sort of figures you might hallucinate after watching cable news through a fever and a cracked iPad. The nursery has become a boardroom, the boardroom has become a bunker, and everyone is still smiling for the camera.

The script was written by Casale with his longtime friend Max Papeschi, the Italian satirical artist whose work often turns corporate and pop-cultural symbols into weapons of ridicule. “He created the artwork and character designs which were then animated by his collaborator Maurizio Temporin,” says Casale. “They used Adobe Photoshop, motion-controlled animation, Adobe After Effects compositing, and selectively deployed minimal AI-enhanced tools for some specific transitions and 3D elements.”

Watch below:

Casale’s new work is a rude little shove back toward the source. Devo came out of trauma, not quirk. On May 4, 1970, Casale witnessed members of the Ohio National Guard open fire on students at Kent State University during an anti-war protest. Four students were killed, including two of his friends. From that day came the theory of “de-evolution,” developed by Casale and Bob Lewis: the suspicion that mankind, despite all its gadgets, slogans, elections, and plastic conveniences, was happily crawling backward on all fours. That idea shaped Devo’s music, costumes, movement, and early videos, many of which remain among the most vicious political works ever smuggled through the machinery of pop promotion.

Devo rarely handed down answers from a soapbox. The band built a funhouse where the mirrors were correct and the audience was deformed. Their songs and films caught a society growing more automated, more distracted, more obedient to commerce, more pleased with its own programming. Just Do It! comes from that same horrible comedy, although the masks are thinner now and the targets have begun naming themselves. Casale understands that power speaks in friendly voices, sells itself through mascots and commands, and loves nothing more than a slogan that sounds like encouragement while it tightens the leash.

More than fifty years after Kent State gave Devo its founding wound, Casale is still staring at America with the alarm of a man who saw the machine early and never mistook it for progress. Just Do It! is a dispatch from inside that machine: loud, lurid, funny in the way a coroner can be funny, and still listening for the old gears of de-evolution grinding under the parade music.

Follow Devo: 

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• YouTube

The post “Do the Trumplini!” — Devo’s Gerald Casale Mocks MAGA Tyranny in Video for “Just Do It!” appeared first on Post-Punk.com.

The .

The post The Purple Daisies consisting of Glenn Hughes and The Dead Daisies members to play show on Oct. 2nd first appeared on Sleaze Roxx.