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BlackRain’s .

The post BlackRain’s new album ‘Orphans of The Light’ available on February 27th first appeared on Sleaze Roxx.

British pop rock band Transvision Vamp returned to Australia for the first time in almost three decades, bringing their 80s smash hits to a packed Metropolis Fremantle and reminding everyone why this country once embraced them like their own. Headlining cities across Australia in February 2026, they’ve come back to the territory where they enjoyed phenomenal success — and judging by the reception in Fremantle tonight (the penultimate date of the tour before crossing back to Melbourne for an extra show due to huge demand), that love affair never really ended. As Wendy James told The Guardian a few months ago when speaking about reclaiming the band name for this tour: “Somehow it didn’t bother me any more… I just said yes – it could be the start of a great adventure.”

And on February 21 at Metropolis Fremantle, that adventure roared back into life, not in a haze of leather and red lipstick, but with a sleek black dress, an unmistakable voice and riffs that still sound as dangerous as they did in 1987.

When I was a young teen, like everyone I knew, I was a little in love with Wendy James and Transvision Vamp. I first saw them in their glorious youth almost four decades ago now – back when all of our hair was bigger, attitudes were sharp, and all our futures were unwritten. I lived in a world that revolved around music, friends and great nights out and it felt more real mainly due to the lack of our constant distraction- mobile phones. Seeing Transvision Vamp again in 2026, returning to the country where they found some of their greatest success, felt like stepping into a time machine, and the phone stayed firmly in the pocket throughout, as an act of wanton defiance.

Australia was always fertile ground for Transvision Vamp – “Baby I Don’t Care” hit No. 3 here and in the UK, the band’s iconic image plastered across bedroom walls and magazine pages. And though Wendy’s solo career has lasted far longer than the original band ever did, tonight is about those songs – and the crowd made it very clear that not a single line has been forgotten.

From the moment the band strode out – James in a black dress, hair tied up, exuding that effortless cool that once made her the ultimate New York arty sophisticate – it’s clear this isn’t some dusty nostalgia trip. Joining her are Alex Ward (Thurston Moore Group) on guitar, original TV bassist Dave Parsons, and James Sclavunos (Nick Cave and The Bad Seeds) on drums. These are consummate musicians, and in their hands the songs haven’t just aged well – they’ve grown.

The opening salvo of “Trash City” and a snarling take on “Tell That Girl to Shut Up” (the Holly and the Italians cover) set the tone. But I got a lump in the throat when “I Want Your Love” rode in early on that unmistakable riff – sharp, bright, and impossible not to move to. The groove is thicker now, less frantic, more assured, steadied by time. It’s not about youthful chaos anymore; it’s about precision and control without eschewing an ounce of teenage excitement.

“Sister Moon,” “Pressure Times” and “If Looks Could Kill” lean heavily into the second album Velveteen – which makes up nearly half the set – and it’s a reminder of just how strong that record was. “Landslide of Love” sounds way rockier tonight, riding a muscular riff, whilst “Pay The Ghosts” brings that 60s girl-group shimmer wrapped in fuzz. It’s one of those songs that has only improved with time – melody and melancholy meeting head-on.

Mid-set, “Revolution Baby” is still the biggest compliment you could pay to the New York Dolls and the whole CBGBs dream – MC5 and Patti Smith attitude with a pop sheen. James stalks the stage, sneering and smiling in equal measure. Only ten years separated the band’s formation from the explosion of that original New York scene, and you can still hear the lineage in every chord.

My personal highlight? The third song in – “I Want Your Love.” The perfect song of its time, and the soundtrack to a thousand teenage crushes. I fell in love in ’87, and for three minutes in Fremantle, I was right back there.

Of course, it all builds to “Baby I Don’t Care.” As a set closer it’s unbeatable. I stood back and just watched the room go off. Arms in the air, voices hoarse with an hour and a half’s singing, the floor bouncing in unison. Not many bands can drop one of their most iconic numbers so early in set and still command that kind of chaos at the end – but Transvision Vamp understand theatre. They know timing and the setlist for this tour was spot on.

The encore is pure sugar rush: “The Only One,” “The Impression of Normalcy,” “Bad Valentine,” and finally a resplendent “Velveteen” – a reminder that the second album wasn’t just a follow-up, it was a glourious landmark. Returning to the territory that embraced them so fiercely, it’s clear this reunion is nothing short of triumphant.

Support comes from New Zealand duo Response, who we chat to after their set. Despite being drummerless, (they joke they left the drummer behind but they’ve always been a duo!) they’ve forged a sound that’s at times introspective yet still energetic – fuzzed-out guitar hooks colliding with moody alt-rock and bright indie tones. The songs are there; you sense they’re on the brink of something bigger.

But tonight belongs to Wendy. To that voice, that stare, that defiant smirk. She once said reclaiming the band name didn’t bother her anymore – that it could be the start of a great adventure. On the evidence of this Australian Tour, she was right.

Nearly 40 years later, how could you not still be in love with this music?

The post LIVE REVIEW: Transvision Vamp at Metros Fremantle 21st February 2026 appeared first on The Rockpit.

“Top .

The post “Top secret” — Stephen Pearcy won’t reveal the special guests on his upcoming solo album first appeared on Sleaze Roxx.

Island 1970 / Panegyric 2025 Wake your reason’s hollow vote: underground mavericks enter the realm of reality-embracing fantasies. “Eerie, never weird” could have been a motto of this ensemble who made strangeness their modus operandi, if not mental state, so … Continue reading →

The post KING CRIMSON – Lizard appeared first on DMME.net.

Swedish power metal force Final Strike are back with their brand-new single "Beowulf," marking the band’s first standalone release since their highly acclaimed debut album "Finding Pieces." Following their celebrated contribution to the A Tribute To The Reaper sampler. "Beowulf" delivers a triumphant next chapter in the band’s rapidly rising legacy… Read More/Discuss on Metal Underground.com

Polish metalcore veterans Frontside have officially signed a new worldwide deal with Massacre Records and announce their brand-new studio album "Nemesis," set for release on March 20, 2026 in Poland, followed by the worldwide release on April 10, 2026. Alongside the album announcement, the band has unleashed the first single and official video "… Read More/Discuss on Metal Underground.com

Shaky leans fully into reflection on In a Heartbeat, a warm and wistful rock track that feels like flipping through faded photographs at 2 a.m. Rooted in memories of early 20s life in Philly and the DIY spirit of running a venue like Rathaus, the song carries both grit and tenderness. There is a lived in quality to the guitars, unpolished in the best way, letting nostalgia breathe without turning sentimental. As the world grows stranger, In a Heartbeat finds comfort in simpler times, offering a relatable reminder that sometimes memory is its own kind of refuge.

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GUNMOLL step confidently into the spotlight with Wanna Be A Star, the focus track from their debut album, blending alt rock grit with exotic melodic flourishes that nod to the singer’s Romanian roots. There is a seductive tension running through the song, balancing ambition and vulnerability against punchy guitars and a driving rhythm section. The band’s sound feels cinematic and slightly dangerous, as if lifted from the pages of a noir novel, yet it remains undeniably catchy. Wanna Be A Star captures the hunger for recognition while hinting at the cost that often comes with chasing the spotlight.

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Antonia XM joins forces with Kenji Araki on Nochmal, a sleek dark wave driven single that pulses with nocturnal energy. Slick, gothic tinged guitar lines weave through a cold, propulsive drumbeat, creating the sensation of moving fast through city streets with headphones on and thoughts spiraling. There is a cinematic quality to the production, as if the track is scoring a late night scene in a restless coming of age film. Lyrically, the song plays with a number system reminiscent of childhood board games, suggesting cycles of progress and relapse, climbing forward only to slide back again. That tension between movement and repetition mirrors the emotional core of the track. Nochmal feels both introspective and club ready, balancing vulnerability with sharp, modern production that lingers long after the final beat.

Post punk duo based out of Philadelphia, PA, Vocabularies dig deeper into that restless creative psyche on Patron Saint, a track that feels both self questioning and quietly defiant. Built on fuzzy, basement born guitars and punchy, unfussy drums, the song carries a raw immediacy that suits its theme perfectly. Ryan Young’s vocal delivery walks the line between resignation and resolve, embodying the push and pull between laziness and the urge to create something that matters. There is no gloss here, no overproduction to hide behind, just a direct and honest confrontation with procrastination, self doubt, and the fear of wasted potential. Patron Saint resonates because it does not pretend the struggle is glamorous. Instead, it embraces the friction, turning inner conflict into momentum and transforming hesitation into a gritty, melodic statement of persistence.

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