Category: news

Corrosion Of Conformity might have thought they’d already peaked by 1994. They were very wrong

Last fall Faith No More/Mr. Bungle frontman Mike Patton teamed up with Scott and Seth Avett — aka the Avett Brothers — for a rather unexpected new band called AVTT/PTTN, sharing their self-titled debut album back in November. Following a couple of promotional appearances and some canceled gigs, Patton and the Avetts have now officially begun their tour. The tour’s first two nights in Louisville on Friday and Nashville on Saturday saw them play a bunch of live debuts from AVTT/PTTN, naturally, but there was also some Faith No More and Avett Brothers sprinkled in the setlist.

The post Mike Patton Sings Faith No More With Avett Brothers At AVTT/PTTN Tour Opener appeared first on Stereogum.

(written by Islander) You could make a nearly endless list of traumas experienced by human beings that are more severe than having a sick pet. But having a sick pet can still be traumatic. I speak from experience — uncomfortably recent experience. My wife and I live with two brother cats to whom we’re intensely […]

The post SHADES OF BLACK: SZNUR, ACOLYTHUS, SCYTHE OF MEPHISTO, NON SERVIAM appeared first on NO CLEAN SINGING.

Testament – Belasco Theater – April 9, 2026

The first indication that something exciting was happening at the 100-year-old Belasco Theater in downtown Los Angeles was the line. I arrived at 6:00pm, the same time the doors opened, and there was a line that went around the block. LA is famous for fans of sports and music showing up late to events and leaving early. While you frequently see lines forming before major events, it’s generally just the diehard fans who need to be up against the barricade closest to their heroes. The majority of people trickle in during the opening band, and venues don’t usually reach their full capacity until the headliner is well into their set. That was definitely not the case on Thursday night.

The Thrash of the Titans Tour brought together three heavyweights in thrash music – Testament, Overkill, and Germany’s Destruction, and Los Angeles turned out in droves to see it. Testament’s Chuck Billy said from the stage that the LA show was the first city of the twenty stops on the tour to sell out, and I believe it. I’ve been to many shows at the Belasco, and I’ve never seen it as full, nor the fans as wild and excited to be there. There was simply no room for me to move once the photographers were kicked out of the pit after our three songs, and it was almost impossible to move through the crowd to get back there for the next band.

The mosh pit for all three bands was out of control and never stopped spinning, which when coupled with the extreme volume coming from the stage and PA system (it might have been the loudest concert I’ve ever attended) left the packed crowd frenzied. This was not a concert to stand around and watch – the people in attendance were there to participate, not to be casual onlookers. In addition to the densely populated main floor and the volume, the temperature also contributed to the overall atmosphere of the evening – it didn’t feel like someone turned up the heat, but with at least 1500 bodies moving endlessly in a small space, it gradually started getting warmer and warmer, until it suddenly seemed like the oxygen got sucked out of the room and it became uncomfortably hot and sweaty.

Testament

Thrash legends Testament headlined and were exactly what you would expect from a band that’s been at the leading edge of heavy music for almost 45 years. These guys are consummate pros, and the fans who’d already survived two of the top bands in the genre, somehow still had energy to give. I’ve mentioned the crowd participation, but another aspect was the level of noise emanating from the audience – yelling, cheering, screaming – the ambient level of sound was at a fever pitch and didn’t subside. I’ve been to a lot of concerts, and don’t remember ever being at an event where the crowd was as universally animated and willing to give as much as the band did.

Formed in the Bay Area in 1983, Testament has fourteen albums, is highly influential in the scene, and are fan favorites. An indicator of this lofty position in fan’s minds and hearts was at the merch booth. When entering the Belasco, you first walk into a small lobby before reaching the main concert hall. Bands set up their merch table in this room, and for most bands, there is always interest in the black shirts hung on the wall, but that interest usually wanes when the band takes the stage…not so for any of the

bands on Thursday’s roster. The merch line wound around the lobby and extended well into the main hall, and remained that way for the entirety of the show. Every time I walked from one side to the other to find positions to photograph from, I’d get stuck trying to navigate the never-ending merch line.

I have a soft spot in my heart for Testament that goes well beyond their music. Thirty-five years ago, my wife agreed to go out with me on our first date. She was a lifelong lover of pop music, and much to her surprise, I instead took her to the Hollywood Palladium to see Testament, a band she’d never heard of, that played a brand of music she didn’t know existed. She wasn’t the only female in attendance, but to say there was a lot of testosterone in the building was an understatement. The night was a blur, and I think she may have been in shock as a result of the metal atmosphere, because she somehow agreed to go on another date with me… I’m happy to write that over the years, metal has won her over, and I think it all stems from that first Testament show at The Palladium in 1991.

This was the second-to-last show of the Thrash of the Titans Tour, and Testament absolutely destroyed the room, leaving the euphoric, but utterly exhausted crowd not wanting the night to end, but having only enough left in the tank to get home safely. It was the perfect conclusion to a perfect evening.

Testament are:

• Eric Peterson – Guitar
• Chuck Billy – Vocals
• Alex Skolnick – Guitar
• Steve Di Giorgio – Bass
• Chris Dovas – Drums

Setlist:

1. Into the Pit
2. The Evil Has Landed
3. Henchmen Ride
4. For the Love of Pain
5. Infanticide A.I.
6. Shadow People
7. WWIII
8. John Doe
9. Low
10. Native Blood
11. Sins of Omission
12. So Many Lies
13. Electric Crown
14. The Ballad
15. Over the Wall

Overkill

By the time Overkill hit the stage, the audience had already been hard at work during Destruction’s set, and while I know what an amazing live band Overkill is, I wasn’t sure how much the Belasco crowd had left in it. Throughout the night, there was a constant wall of noise from the fans, and the ambient noise level was as high as any show I’ve been to. Just when I thought it couldn’t get any louder, with perhaps a twinkle in his eye and an hint of his infectious laugh, Bobby said “I don’t want to talk shit, but the Phoenix audience last night was half the size and twice as loud…and they said LA sucks…their words, not mine…”. With that, it was on, and the energy level went to levels previously unreached. Overkill was just fantastic, and the boys from New Jersey left no doubt that they are one of the truly great live bands. How any of these bands that have been putting in the work since the early 1980’s are still competing at such an incredibly high level is amazing, and the fans packed inside the Belasco Theater were grateful.

Overkill are:

• Bobby “Blitz” Ellsworth – Vocals
• DD Verni – Bass
• Dave Linsk – Guitar
• Jeramie Kling – Drums

Destruction

This was my first time seeing pioneering thrash metal band Destruction, and I had no idea what to expect. I was aware that they came from the same German Teutonic thrash scene as Kreator and Sodom, but what would they be like on stage, and how would the crowd react? They were set to go on early, before 7:00pm, and I wondered just how fired up anyone could be that early for this kind of music. I soon got my answer, and a unified scream arose from they crowd at the first notes of “Curse the Gods”. The already full Belasco Theater crowd reacted immediately, and crowd surfers started raining down on security in the pit, while a furious mosh pit launched, and didn’t stop throughout the entire set. Fans sung along word for word with Schmier, and the band exploded into song after song of sweat-inducing sonic perfection. I was merely taking pictures, but during my three songs up front in the photo pit, I emerged completely soaked – both from dodging surfers launched into the pit, and the intense energy and volume coming from the stage. Destruction is a great live band, and I’m thankful to have finally seen them up close and personal.

Destruction are:

• Marcel “Schmier” Schirmer – Vocals/Bass
• Martin Furia – Guitar
• Damir Eskic – Guitar
• Randy Black – Drums

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Boycotts, death threats and more.

The post Here’s This Week’s Top Ten Stories On Theprp.com (April 12th, 2026) appeared first on Theprp.com.

 

GEORGE STRAIT’S MOODY FIRST-OF-FOUR
DRAWS DANCING AND DELIGHT 
With 28 Songs Spanning Two Hours, Strait Packs 15k Fans + Hits  

 

In his first show of 2026, George Strait sauntered to Moody’s center stage last night in his signature starched Wranglers and black Resistol hat just after 8:45p, leading more than 15,000 fans through a two-hour, 28-song set singalong in his first night’s set of arena doubles bookending the icon and Country Music Hall of Fame member and recent Kennedy Center Honoree’s seven show season.

Fans weren’t the only ones who dressed up for the occasion. The arena – which Strait opened with Willie Nelson in April 2022 – was decked to the nines in Strait Moody Center signage welcoming “The King of Country” back to the stage for the first time in nearly four years. And Austin didn’t just show up, they came to sway, sing and two-step, taking to the aisles in pairs on “Does Fort Worth Ever Cross Your Mind” and shuffling along to “I Just Want To Dance With You.”

“I see we got some cowboys out there tonight, I love it,” Strait gleamed midway through his setlist including so many of the icon’s 60 No. 1 hits. “I love seeing you cowboys out there because you bring the cowgirls with you; this song is for all you cowgirls,” he proclaimed before performing “How ‘Bout Them Cowgirls” from his 2007 album, It Just Comes Natural. 

Texas native William Beckmann opened the evening and will return this Saturday, April 11. Additionally, Carter Faith will join George Strait for his return to the Moody Center on May 15 and 16, marking his final shows of the season.

With additional tickets recently released, limited seats remain available for purchase for Strait’s remaining 2026 shows at georgestrait.com.

Remaining 2026 George Strait Shows:

Saturday, April 11   Austin, Texas    Moody Center
Friday, April 24    Lubbock, Texas    Jones AT&T Stadium
Saturday, April 25    Lubbock, Texas    Jones AT&T Stadium
Saturday, May 2    Clemson, SC    Death Valley
Friday, May 15   Austin, Texas    Moody Center
Saturday, May 16   Austin, Texas    Moody Center

The post George Strait’s Moody Center Return in the Round appeared first on Mayhem Music Magazine.

And it was apparently Corgan’s first time ever playing ‘Coachella’.

The post Watch: The Smashing Pumpkins’ Billy Corgan Joined Sombr Onstage At ‘Coachella’ Last Night For A “1979” Cover appeared first on Theprp.com.

Photo Credit: Hugo Genest


——————-



General Chaos formed in 2022 at just twelve years old, they have grown up quickly inside Montreal’s punk scene, from performing at Pouzza Fest sets to  across Québec and Ontario.They released their debut LP Outta My Way with Ryan Battistuzzi at fifteen years old. That momentum carries into Can’t Please ’Em All, recorded in three days at Le Stuzzio with Battistuzzi and produced by Fred Jacques of The Sainte Catherines. 



Order General Chaos’ Music and Merchandise

General Chaos are part of a Montreal lineage that incorporates  The Nils, The Asexuals, Planet Smashers, Banlieue Rouge, and The Sainte Catherines. First recognized in La Presse as a generation “running punk on Kool-Aid,” the band quickly turned curiosity into conviction. 

 

NEW ALBUM CARRY THE LIGHT, CO-CREATED WITH SON JULIAN FRAMPTON, OUT MAY 15th

 

Rock & Roll Hall of Fame inductee and Grammy Award-winning guitarist Peter Frampton today shares a new single, “Lions at the Gate,” featuring Tom Morello. Today’s release follows iHeartRadio’s world premiere of the track, where they aired the song on all of their Classic Rock stations around the country yesterday. The song is the latest release from Frampton’s upcoming album, Carry the Light, his first album of all-new material in 16 years, on May 15 th. Co-written and produced with his son Julian Frampton, the collection also includes guest appearances by Sheryl Crow, Bill Evans, H.E.R., Graham Nash and Benmont Tench.

“Lions at the Gate is a powerful track with a powerful message, and Tom’s playing took it to another level,” said Frampton.

 

 

“Lions at the Gate,” a dynamic protest song featuring guitar by Rage Against the Machine’s Tom Morello, draws inspiration from lion statues outside Hollywood elite mansions in the 1920s. Frampton incorporates Morello’s signature heat to urge listeners to “tear down the lions at the gate,” symbolizing a bold challenge to the ultra-powerful. Julian Frampton also contributes vocals to the ferocious track.

The new track follows the previously released single, “Buried Treasure,” featuring keyboardist Benmont Tench of Tom Petty & The Heartbreakers—listen here. A tribute to the late Tom Petty, the track honors the SiriusXM radio show of the same name that Petty curated and hosted for 15 years, with lyrics crafted entirely from Petty’s song titles. Frampton personally sought out Tench to add his signature style to the Petty homage.

For Frampton, Carry the Light is a reflection of the present, rooted in the challenges, changes and connections that have defined recent years. The title itself is a statement of purpose; to Frampton, the light represents wisdom, something to be carried forward. At its core, the album is a deeply personal document, one that Frampton credits in large part to the experience of making it alongside his son. “This may be the best album Peter’s ever made,” said engineer and co-producer Chuck Ainlay (Mark Knopfler, Miranda Lambert, George Strait). “The songs are just so poignant, and his voice has matured in a way that really delivers what he’s trying to get across.’”

“The Carry the Light album is the first new music from me in 16 years. It was one of my most enjoyable projects ever. I got to work with my son Julian—writing and producing together. A first of many for us I’m sure,” Frampton said.

Frampton is surrounded on Carry The Light by an all-star supporting cast: Sheryl Crow is Frampton’s vocal foil on “Breaking the Mold,” Bill Evans adds saxophone to both “Can You Take Me There” and “Tinderbox,” H.E.R. trades guitar lines on the instrumental “Islamorada,” Tom Morello brings his distinctive intensity to “Lions at the Gate,” Graham Nash lends harmonies to “I’m Sorry Elle,” Benmont Tench contributes keyboards to “Buried Treasure.” Everyone asked to participate in Carry the Light gladly heeded the call to lend their support and create new material with an artist who’s been dispersing endless goodwill and great music across the globe for more than six decades and counting.

Carry The Light will be released in a variety of formats, including CD, 180-gram yellow vinyl and digitally in stereo, hi-res audio and immersive Dolby Atmos® options. A special limited-edition vinyl, which will feature a premium cover treatment and be numbered, will be available exclusively via Peter Frampton’s official store, uDiscover Music and Sound of Vinyl.

Earlier this year, Peter celebrated the 50^th anniversary of his iconic album Frampton Comes Alive! Upon its original release in 1976, Frampton Comes Alive! became a cultural phenomenon and remains one of the top-selling live albums of all time, with nearly 20 million copies sold worldwide. In honor of the milestone, Peter released a Vinylphyle edition of the landmark album via A&M/UMe. The limited Vinylphyle double LP pressing is sourced from the original 1975 Doug Sax 1/4″ production master, with lacquers cut by Joe Nino-Hernes, and pressed on 180g black vinyl at RTI. The package features a four-panel insert including a new interview with Frampton and Anthony Fantano of The Needle Drop.

Over the course of a career spanning more than six decades, Peter Frampton has established himself as one of the most celebrated guitarists in rock history. In 2007, he won a Grammy for Best Pop Instrumental Album for Fingerprints; in 2014, he was inducted into the Musicians Hall of Fame; and in 2019, he received the Les Paul Innovation Award at NAMM’s TEC Awards.

In 2020, Frampton was inducted into the Grammy Hall of Fame, his autobiography, “Do You Feel Like I Do?: A Memoir,” debuted on The New York Times Bestsellers list and he appeared on Dolly Parton’s latest album, Rockstar, as the only artist featured on two tracks.

In 2023, Frampton unveiled Frampton@50 on Intervention Records, a numbered limited-edition vinyl box set featuring Frampton’s essential 1972-1975 studio releases Wind of Change, Frampton’s Camel and Frampton. He also received The Myositis Association’s Heroes in the Fight 2023 Patient Ambassador Award and unveiled his historic performance at London’s Royal Albert Hall.

 

In 2024, he received the Les Paul Spirit Award at Gibson Garage Nashville, was inducted into the Rock & Roll Hall of Fame and wrapped an extensive headline tour before returning to the studio to record Carry the Light.

 

 

The post Peter Frampton Unveils New Song “Lions At The Gate” featuring Tom Morello appeared first on Mayhem Music Magazine.