Category: news

Gibson Unveils “Handcrafted in Nashville, TN” — A Year‑Long Celebration of Craft and Legacy

 

Since 1975, Gibson electric guitars have been handcrafted in the heart of Music City. Nashville, Tennessee, where wood and steel meet heart and soul.

Gibson launches Handcrafted in Nashville, TN. This year-long marquee campaign celebrates the craftsmanship and innovation that drives Gibson and Gibson Custom electric guitar making in the heart of Music City, where Gibson musical instruments begin a journey that will ultimately see them featured on the world’s biggest stages in addition to rehearsal rooms, recording studios, and homes all over the world. Watch the Handcrafted in Nashville, TN video below showcasing the art and craftsmanship behind each and every Gibson electric guitar: HERE. Explore all Gibson and Gibson Custom electric guitars HERE.

Click on the image above to play the video. For more than half a century, Gibson electric guitars have been handcrafted in Nashville, Tennessee, where wood and steel meet heart and soul. Through four chapters supported by exclusive video content and an exciting array of new products, Gibson is highlighting the people and processes at the company’s Nashville craftories, where passionate Gibson teams use time‑honored methods and premium materials alongside original tooling to create instruments built to provide a wellspring of inspiration for generations of musicians. We don’t do things the easiest way or the fastest way. We do things the right way—the Gibson way. And that’s the Gibson difference.

A Gibson artisan uses traditional rope-binding. The Gibson approach draws on only the finest materials and premium parts and components, employing traditional processes such as rope‑binding in conjunction with original tooling from the Kalamazoo factory used during the company’s first Golden Era. This includes the ES laminate press used to make the instruments beloved by icons of popular music in the 1960s, which is still an essential part of the process when crafting the Gibson ES guitars of today.

A Gibson artisan hand-sanding a guitar neck. More than 130 years after company founder Orville Gibson began building musical instruments, the company continues to honor his legacy. The heart of Gibson is its people, and their artistry shows through in every contour of every guitar. Personal touches like hand‑sprayed sunburst finishes and figured maple tops make every Gibson guitar as unique as a fingerprint, while cutting‑edge technology such as 3D laser scanning allows the DNA of beloved instruments of the past—some of which fetch millions on the vintage market—to live on in new guitars. Crafted to be played, loved, and ultimately passed down, every Gibson is a future legacy instrument, connecting the players and superstars of today with those of tomorrow.

A Gibson artisan hand sprays a Sunburst finish on a Gibson Les Paul.   A lifelong musical companion, a Gibson guitar is built to sustain for generations. Long before it even reaches our craftories, the story of every Gibson guitar begins with a tree, and the company works closely with its suppliers to source the finest tonewoods responsibly, ensuring long-term stewardship of the forests on our fragile planet, safeguarding ecosystems and decades of guitar‑making to come. Ultimately, the most important hands that touch a Gibson are the final ones, the hands belonging to the player who takes it home. That’s when you hear its soul. Your hands. Your Gibson. Your story. Today sees the premiere of the first video in the Handcrafted in Nashville, TN, series on Gibson TV, HERE. The full narrative will continue to unfold throughout 2026 with chaptered storytelling and new products celebrating the past, present, and future of Gibson electric guitars. Gibson will tell this story across Gibson.com, the Gibson Gazette, and its social channels. We invite our global fanbase to share their own Gibson electric guitar stories for us to spotlight. Look for more from Gibson in the coming months, including exciting new product launches that tie into the Handcrafted in Nashville, TN campaign. Explore all Gibson and Gibson Custom electric guitars HERE. CHAPTER 1: “WOOD” MAY-JUNE 2026 The journey of a Gibson guitar from the forest to the stage begins here. Chapter 1 turns the spotlight on the premium organic materials and the unique combinations of tonewoods that shape the character of iconic Gibson body shapes such as the Les Paul, SG, and ES-335, delivering the unmistakable signature tones that have provided the soundtrack to the past seven decades of popular music. CHAPTER 2: “STEEL” JULY-SEPTEMBER 2026 This chapter spotlights the hardware and electronics that bring a Gibson electric guitar’s voice to life, from the latest innovations at the Gibson Pickup Shop to time-honored tooling from Kalamazoo, from presses and jigs to fixtures and forms, equipment that shaped instruments that became iconic in the hands of artists, and carries a storied history of its own. Meet the builders who maintain and master these original tools and see how metal hardware and fretwork translate precision into playability, sustain, and tuning stability. CHAPTER 3: “HEART” OCTOBER-DECEMBER 2026 Chapter 3 runs from October through December and celebrates the people of Gibson, whose passion, skill, and care define every instrument. This chapter spotlights hand processes at the Gibson and Gibson Custom craftories in Nashville and showcases the people who bring your Gibson guitar to life. Their dedication, patience, and ear and eye for detail turn wood and steel into musical instruments with a unique voice and soul, forging a connection that begins in the workshop and continues in the hands of the player. CHAPTER 4: “SOUL” JANUARY–MARCH 2027 This chapter follows Gibson guitars as they leave the Nashville craftories and enter the hands of the players and artists all over the world. From couches and front porches to garages, dive bars, and the world’s biggest stages, hours of practice and miles on the road take wood and steel and forge a voice and a legacy, inspiring a whole new generation of players.

The post Gibson Unveils “Handcrafted in Nashville, TN” appeared first on Mayhem Music Magazine.

Why Is Sebastian Bach Fronting Twisted Sister In 2026?

Sebastian Bach is fronting Twisted Sister for select 2026 shows after Dee Snider stepped back due to serious physical limitations, with Snider personally approving the move.

TL;DR

• Twisted Sister’s 2026 return now includes confirmed shows with Sebastian Bach on vocals
• Dee Snider stepped away due to arthritis and mobility issues
• Bach is approaching this as a fan first, not a replacement
• These are the first official dates of the already-announced reunion

Twisted Sister coming back was already on the table.

Seeing it move forward without Dee Snider is what changes the conversation.

And once you hear how this actually came together, the dynamic shifts fast.

The First Tour Dates Are Now Confirmed

These are the first announced 2026 shows:

• Sep 04 – Palmer, AK @ Borealis Theatre
• Sep 12 – Durant, OK @ Choctaw Grand Theater
• Oct 08 – Niagara Falls, ON @ OLG Stage at Fallsview Casino
• Oct 10 – Windsor, ON @ The Colosseum at Caesars Windsor

These dates officially mark the start of this version of the band.

Fans looking to attend can find tickets here.

Dee Snider Made The Call Himself

This wasn’t a label move or band decision.

It came directly from Snider.

“He says that he has arthritis, that his knees are going out, and he has bone on bone… the doctor said that he should not be jumping around.”

That creates a clear line.

Snider’s live performance style depends on movement.

“He wants to do the full show moving around… and the doctor said, ‘You can’t do it.’”

Rather than scale it back, he stepped away from the stage role entirely.

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Bach Didn’t Step In Quietly — He Picked Up The Phone

Before anything was finalized, Bach called Snider directly.

“I just got off the phone with Dee Snider… we were both kind of getting teary eyed.”

He didn’t move forward without that conversation.

And he didn’t treat it like a formality.

That approval is the difference between this working—or not.

This Isn’t A Tribute Role

Bach isn’t approaching this like a fill-in spot.

“I’m the lead singer of Twisted Sister… How much fun is that to say?”

At the same time, nothing else stops:

• His solo band continues
• Skid Row classics stay in rotation
• This run sits alongside everything else he’s doing

That balance matters.

Because it avoids turning this into a replacement narrative.

The Fan Angle Is What Changes The Energy

Bach isn’t learning this catalog.

He already knows it.

“I am a fan of Twisted Sister… I love that band.”

He’s not just referencing hits either.

He’s pulling from deeper cuts in interviews.

That shapes expectations immediately.

If you’ve followed bands stepping into legacy roles before, you already know how much that difference shows on stage.

The Lineup Isn’t Fully Original — But It’s Not Random Either

For these shows:

• Sebastian Bach — vocals
• Jay Jay French — guitar
• Eddie Ojeda — guitar
• Russell Pzütto — bass
• Joey Cassata — drums

This isn’t a reunion built on nostalgia alone.

It’s a working version of the band built to perform at full intensity.

There’s Still An Open Door

Snider hasn’t ruled out appearing.

“Maybe he’ll be at some of these gigs… I don’t know if that’s gonna happen or not.”

That uncertainty adds another layer to every announced show.

Because if it happens, it won’t be billed in advance.

Where This Gets Interesting For Fans

This setup creates a different kind of show.

Not a farewell.

Not a standard reunion.

Something in between.

And if you’ve been tracking how bands handle lineup shifts like this, you already know some versions land harder than others.

If You Want To Hear The Era Bach Is Pulling From

The material he keeps referencing goes beyond the biggest singles.

That side of Twisted Sister hits differently when it’s played in full, not chopped into playlists.

That’s exactly how it runs on the Loaded Radio stream—full albums, no skips, no interruptions.

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FAQ

Is Twisted Sister officially back?

Yes. The reunion was already announced—these are the first confirmed shows.

Why isn’t Dee Snider performing?

He stepped back due to arthritis and mobility issues affecting his ability to perform live.

Is Sebastian Bach replacing Dee Snider permanently?

No. He’s fronting select 2026 shows with Snider’s approval.

Will Dee Snider appear at any shows?

It’s possible, but not confirmed.

Twisted Sister Bio

Twisted Sister formed in the early 1970s and became one of the defining acts of the 1980s metal era, known for their rebellious image and anthems like “We’re Not Gonna Take It” and “I Wanna Rock.”

The post Twisted Sister Reveal First 2026 Tour Dates With Sebastian Bach appeared first on Loaded Radio.

The most unlikely hottest band in the world have broken all the rules to create a mesmerising hypnotic trip of a music that normally would remain glued in the underground. Somehow and maybe perhaps of their own innate genius, they are blowing up big, which is very, very exciting… the polka dot French Canadian band […]

The post Angine de Poitrine announce European tour appeared first on Louder Than War.

It looks like Boards Of Canada might be up to something. Yesterday fans starting posting on the fan forum Twoism as well as Reddit that they’d received some mysterious VHS tapes in the mail emblazoned with Boards Of Canada’s hexagon logo. The tape has now officially made its way to Discogs — attributed to BOC’s longtime label Warp — and the audio, naturally, has since been ripped and uploaded online.

The post Boards Of Canada Mail Mysterious VHS To Fans appeared first on Stereogum.

Jay Valentine: Guilt Trip was originally published on HM Magazine by Nao Glover.

Cullen and Mason chat with Jay Valentine from Guilt Trip. They chat about the band’s history, the UK hardcore scene, and his most influential albums. Check out Guilt Trip and listen to the BlackSheep podcast on Apple Podcasts, Spotify, and Spreaker. You can also follow us on Instagram and subscribe on YouTube.

Jay Valentine: Guilt Trip was originally published on HM Magazine by Nao Glover.

Hitting various casinos and a state fair.

The post Twisted Sister Announce Their First North American Shows With Sebastian Bach On Vocals appeared first on Theprp.com.

Sometimes you’ve got your headphones on listening to an album and you get lost in what you’re doing. The album finishes and helpfully (or not) the algorithm has a few songs lined up for you to listen to next. Most of the time, they’re not really what you’re looking for or what you’re into. Sometimes … Continue reading Album Review: Love Rarely – Pain Travels

“‘Cope’ is about the quiet battles young people fight while trying to figure out who they are in a world that doesn’t always make it easy.”

The post Saliva & Thousand Foot Krutch’s Trevor McNevan Deliver Rap Rock Nostalgia With “Cope” appeared first on Theprp.com.

When it comes to symphonic music, Italy has a rich history. From the famed Vivaldi to modern composer Ennio Morricone, who wrote the iconic score to The Good, the Bad, and the Ugly, Italy has left an indelible mark on music history. This extends as well to their symphonic metal scene, with the likes of Ancient Bards and Moonlight Haze to the giants Rhapsody of Fire and Fleshgod Apocalypse. Orchestral arrangements can transform metal music from the mundane into something more profound if done right. Nefastis did not begin their journey as a symphonic death metal band. Their 2014 debut, De Diebus Fastis Nefastis Infaustis, was a work of death/thrash with a progressive tilt. However, lineup changes forced the band to take a lengthy break. Twelve years later, founders Andrea Lenzi and Simone Colombo put the pieces back together, hoping to reinvent and rejuvenate Nefastis on their sophomore outing, Shadows at the Light of Dawn.

While traces of their thrash roots remain, Shadows at the Light of Dawn proves to be a work of symphonic melodeath at heart. Unlike the bombastic, operatic work of Fleshgod Apocalypse, Nefastis plays a more subdued blend of death and symphonic metal. “Tears of the Past” features a fantastic melodic lead with strings and the occasional flute providing seasoning rather than competing to be the main course. These are mostly mid-tempo bruisers, but Nefastis shows their thrash side on the more energetic “Stardust.” Nefastis also rip out a neoclassical solo here and there, such as on opener “Cosmic Silence at the Edge of the New World,” where the solos duel with some pianos, and on “Seduced by the Beauty of Darkness,” where they accompany some synth wankery. Though I do wish they could have implemented more thrash, as Gods of Gaia did to great success last year, Nefastis still does some really cool things that should make genre fans happy.

The overall structure of Shadows at the Light of Dawn, interrupted by several lengthy instrumental interludes, makes it difficult for the record to find continuity. Since these interludes crop up every three tracks, Nefastis effectively kill their momentum whenever it starts to build. It doesn’t help that these interludes are full-length songs, each about three minutes. They also feel out of place tonally. “Absence of Illumination” delivers a brief synth composition that gives off Curta’n Wall vibes amidst its otherwise somber atmosphere. Synths also play a role on the more uplifting “Lights of Dawn,” which again has little in common with what surrounds it. Even stranger is “Blackened Visions,” containing a soft piano composition that belongs in a chaste concerto rather than a death metal album. Nefastis had so many ideas they wanted to implement that they were willing to sacrifice their record’s coherence.

This lack of continuity, unfortunately, translates into a greater lack of consistency throughout Shadows at the Light Dawn. Great ideas often get lost within some bland compositions. The thrash of “Stardust,” for example, is a light shining through more forgettable segments surrounding those thrash bits. Similarly, “Tears of the Past” opens with nearly a minute of lethargic material before diving into the fun parts. Still, there’s enough cool stuff to keep listeners engaged until the record collapses in the excesses of its final two songs. “Collapsing Dream” is an eight-minute snoozefest that starts off well enough before devolving into such a boring tune you might drift into dreamland before it’s over. Finale “Flowers Swept Away by the Autumn” takes the cake in its weirdness, but at least it’s interesting. You’ll hear some chiptunes, Stranger Things-style synths, a lengthy stoner/jazz solo, and some power metal riffs. All of this gives the impression of a band still in search of its identity.

Nefastis simultaneously sound like a generic symphonic death metal band and a very unusual one. I didn’t even go into the vocals. On that front, Colombo delivers some aggressively deranged blackened rasps that are initially off-putting. Oftentimes, these symphonic acts implement softer female vocals into their performances, whether it’s the operatic singing of Therion, or the beauty and beast dynamic of Sirenia. Nefastis opts for just Colombo until, puzzlingly, the final two songs. An unnamed female singer contributes to about 30 seconds’ worth of material, and then the record’s all done. Yet her bits are some of the catchiest stuff here. Nefastis has a ton of potential. Once they can focus on a more consistent style, they should give this mystery singer more airtime. I bet they can write something special.

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Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Rockshots Records
Websites: Qobuz | Facebook | Official Site
Releases Worldwide: March 6th, 2026

The post Nefastis – Shadows at the Light of Dawn Review appeared first on Angry Metal Guy.

With Skillet, From Ashes To New, Winona Fighter & more.

The post Shinedown Announce Four New Summer U.S. Shows appeared first on Theprp.com.