Category: news

The trek will serve as Kill The Lights’ first U.S. Tour.

The post Kill The Lights & The Curse Within Added To As I Lay Dying’s U.S. “Shadows Are Security” 20th Anniversary Tour appeared first on Theprp.com.

The British heavy metal legends’ show at the Paris La Défense Arena was met with a considerable setback.

The post Iron Maiden Issue Statement After Their Phone-Free, Live Concert Filming At Last Night’s Paris Show Was Hit With 1-Hour Power Outage appeared first on Theprp.com.

Nothing planned for November & December.

The post Nothing To Join Turnover & Trauma Ray On Fall North American Tour appeared first on Theprp.com.

Back in 2022, when this project first emerged, BOLD REYNOLD seemed to be a prime example of those one-off endeavors where an inspired person gathers like-minded performers for a star-studded album which sparkle for a while and disappear without a … Continue reading →

The post BOLD REYNOLD Aim For A Hat-Trick By Delivering New LP appeared first on DMME.net.

Frankie Rose has announced her new album, HILA, and unveiled its first single, “Cant Be Wrong.” The 10-track record arrives on September 18 via Born Losers Records worldwide outside the UK and Europe, with Night School Records handling the UK and European release. Self-produced by Rose, the album follows 2023’s Love As Projection and carries her gleaming synth-pop into a darker interior shaped by grief, altered perception, and the unstable boundary between presence and absence.

Rose describes HILA as a record about loss and what might persist beyond the range of ordinary perception—the place mourning repeatedly returns to, suspended somewhere between transcendence and doubt. If Love As Projection reached outward toward the world, its follow-up turns that same melodic instinct inward, bringing the dark cosmos into a more intimate space.

Recorded following extensive touring with The Jesus and Mary Chain and Swervedriver, HILA was made primarily in Rose’s home studio, with additional recording at Treuhand Brooklyn. The sessions feature drummer Justin Welch of Elastica and Lush, alongside guitarists Ian Campbell and Chris Rager, bassist Jake Vest, and saxophonists Jeff Tobias and Matthew Friedlander. Additional production comes from Brandt Gassman, with Trey Frye mixing and Josh Bonati mastering.

As the album’s opening transmission, “Cant Be Wrong” serves as a bridge from the brighter electronic pop of Rose’s previous record into HILA’s more goth-laced dreampop atmosphere. A thumping ’80s funk-pop rhythm supports crystalline guitar, vaporous synthesizers, and Rose’s layered voice, which hovers above the track with a cool, aching clarity. The chorus rises into one of her characteristic soaring melodies, but the wings that carry it forward cannot conceal the wound beneath it.

The song is a love letter to someone no longer in this realm—an act of accepting that person completely, exactly as they were, only after their absence has become permanent. Its emotional tension comes from the part of grief that understands the fact of death while continuing to reject its finality.

The accompanying black-and-white video gives that suspended grief a landscape. A woman in a sleeveless dark dress walks across an immense, bleached salt basin ringed by serrated mountains. She is rarely alone for long: translucent doubles follow behind her, drift beside her, and disappear into the glare, turning a solitary figure into a procession of unfinished memories.

The landscape repeatedly folds over itself through multiple exposures, split screens, hard black bars, and the scratches of damaged film. Close-ups of Frankie Rose wearing oversized sunglasses are transformed into stark, hand-drawn portraits, repeated in triptychs and grids before being inverted into ghostly negatives. Grainy footage of two horses briefly breaks through the salt-flat imagery, adding another fragment of motion that feels recovered from some private archive.

As the edit becomes increasingly unstable, faces multiply, mountains slide out of alignment, and bodies appear several times within the same moment. The clip treats grief like a strip of film caught in a malfunctioning projector: replayed, duplicated, partially erased, and returned to the screen before it can fully disappear.

Watch the video for “Cant Be Wrong” below:

HILA is set for release on September 18 through Born Losers Records and Night School Records. You can pre-order the album here. It will be available on clear vinyl with a green center, black vinyl, CD, and digital formats. The limited clear-and-green edition can be ordered here.

HILA Tracklist

1. “Olo”
2. “Cant Be Wrong”
3. “Return To Dust”
4. “Shadow Twin”
5. “Rainman”
6. “Hila”
7. “Manifest”
8. “Best Of Times”
9. “TV Star”
10. “Velvet Refrain”

Follow Frankie Rose:

• Website
• Instagram
• Facebook
• Bandcamp
• Spotify
• Apple Music
• Merch

The post Frankie Rose Channels Grief into a Love Song in Video for Melancholic Synthpop Single “Cant Be Wrong” appeared first on Post-Punk.com.

All’s well that ends in gold.

The post Chiodos Land Their First-Ever Gold Certification In The United States appeared first on Theprp.com.

By Ralph Greco, Jr.

Yes, Anika Nilles is killing it. Yes, Alex Lifeson and Geddy Lee seem to be having so much fun, flashing smiles and playing expertly. The filled-out sound with keyboardist Loren Gold adds a whole other dimension to the live performance. The band is rolling through some great songs, hits, and deeper cuts, both. And full disclosure, I haven’t attended — nor will I — any of the shows.

Is this Rush?

I know we are happy to see Alex and Ged back on the boards. So many fans either wanted to hear Rush music live once again (me included) or see these classic rockers for the first time on what they are calling their Fifty Something Tour. I get the attraction. And again,  Anika Nilles is aces. She seems to be having so much fun, and from what I have heard and seen online, the crowd, not to mention Geddy and Alex, are so supportive, loving her every fill and snare snap. But for a band like Rush, a three-piece all of their lives, and Neil Peart having been such an integral part of the trio, as well as such a distinctive player, maybe one of the best rock drummers ever, without his presence and feel, is the band fans are racing to see on this new tour Rush?

Even the most casual fan knows the history here. Rush was all but done as a touring band, managing one last go-round on their R40 Tour in 2015. Then when Peart passed away in 2020 (really, that was so inconvenient of him!), there was truly no hope (at least in my mind) of ever seeing Rush live again. Geddy Lee had even said when the band ended, it was only Rush with Neil Peart in it. “But…” he added, “we will be playing 40 Rush songs. So what the fuck should we call it? Iron Maiden?” So now we have this four-piece lineup on this Fifty Something Tour.

And again, I ask: Is this Rush?

Nobody can damn Geddy Lee and Alex Lifeson, friends since they were 13, wanting to play, and again, it seems from what I have seen and heard, they still can, pretty much. And surely people want to see them still play, if evidence of tour ticket selling is any indication. And one can argue that Anika is just a hired hand, just like so many other hired hands in multiple classic bands using their original name going out with replacement members — The Who replacing drummer Keith Moon with Kenny Jones, even making albums with him, and the Stones producing what will be two albums sans drummer Charlie Watts, plus they have toured and the rumor is they will again.

Again, it’s been done before and I get it.

I just read Phil Ehart’s autobiography (see the review here), and a great read it is. But I disagree with the great Kansas manager and drummer in his view that his band still has legitimacy, filled as it is now with substitute musicians, playing concerts as Kansas, since it is, as Ehart says, the music that most matters. I’m paraphrasing Phil Ehart slightly, but that’s mostly his point on the matter.

To me, though, it is not only what the OG’s played but how they played, their very essence, if you will, their ‘feel,’ that makes the tunes. So, while the mighty Ms. Nilles might be able to replicate a Peart drum fill here and there, and she surely rocks hard, youthful exuberance aside, she does not possess the unique stuff that made Neil Peart Neil Peart, stuff that is so evident in Rush’s recordings and live sound.

I’ll save the last word of this probably less-than-popular opinion of mine from the great rock and roll movie, 1989’s Eddie & The Cruisers II: Eddie Lives! In the film, saxophonist “Hilton Overstreet,” played by Anthony Sherwood, says to “Eddie Wilson,” played by Michael Kevin Paré, “The way a man plays — he’s born with it; like fingerprints. He can hide under another name. But he can’t disguise the way he plays.”

Just like Geddy Lee, Alex Lifeson, Anika, you, me…and surely Neil Peart, a musician, painter, writer, what have you, can’t disguise themselves, their “fingerprints” are all over what they produce. And Neil Peart’s fingerprints, his Neil-ness, are all over Rush’s wonderful oeuvre, recorded and live. The band touring as Rush presently has Anika Nilles’ fingerprints on their live drumming and great as she is, she ain’t Neil Peart.

And I ask again: Is this Rush?

They were also announced as the openers for a U.S. tour with thrown, Norma Jean & BOLTCUTTER today.

The post HALF ME Premiere “Built On Your Blood” Music Video appeared first on Theprp.com.

AC/DC .

The post AC/DC ‘PWR/UP Pop Ups’ to appear in every city on 2026 North American Tour including Canada first appeared on Sleaze Roxx.

A series of two-night stops have been booked.

The post Parkway Drive To Play Their First Two Albums In Full On Australian ‘Killing Horizons Tour’ appeared first on Theprp.com.