Cold Streets was originally published on HM Magazine by Nao Glover.
Cullen and Mason chat with all the members of Cold Streets. They chat about the band’s history, their new music, and much more. Check out Cold Streets and listen to the BlackSheep podcast on Apple Podcasts, Spotify, and Spreaker. You can also follow us on Instagram and subscribe on YouTube.
Cold Streets was originally published on HM Magazine by Nao Glover.
Florida death metal vets Obituary have locked in a March headlining run, with Castrator and Intoxicated joining as support. The nine-date trek also includes two stops where Obituary will open for Acid Bath, making those nights the obvious outliers on what’s otherwise a straight headliner schedule.
Tickets for the headlining shows go on sale this Friday, January 30, at 10:00 a.m. local time at this location. Check out the itinerary below.
03/19 – Gainesville, FL – The Wooly (no Castrator)
03/20 – Birmingham, AL – The Canteen
03/21 – Pelham, TN – The Caverns (with Acid Bath, Herakleion, and Saint Avangeline)
03/22 – Memphis, TN – 1884 Lounge
03/24 – Oklahoma City, OK – 89th Street
03/25 – Columbia, MO – The Blue Note
03/27 – Denton, TX – Rubber Gloves
03/28 – Houston, TX – White Oak Music Hall (with Acid Bath and High On Fire)
03/29 – New Orleans, LA – Tipitina’s
While the tour news is the immediate headline, drummer Donald Tardy has also been talking about what comes next for the band on the recording side. Last summer, he was asked by Bloodstock TV’s Oran O’Beirne whether Obituary were still targeting a new studio album in 2026 or 2027. His answer was cautious and very on-brand for a band that’s been doing this for decades.
“In the rock and roll industry, you make plans, and nothing ever sticks, and getting pushed back, it happens always. So I don’t wanna tell people that there’s gonna be a new album, ’cause is there? We don’t know. We’re having a damn good time. My brother [Obituary frontman John Tardy] and I are having a blast. Should there be one more record? Possibly. Possibly for the fans,” he explained (via Blabbermouth)
“Going on a 40-year career, we’re wondering, where do we go with this career of ours? And how much longer? Do we wanna do it? Can we do it? And should we? And so to answer the question, we love writing music, and we love the idea of a new album, but we will definitely take our time and write the best songs we possibly can, just like we did with Dying Of Everything,” Tardy continued.
“So ’26 and ’27 will be a writing process, and then the recording of it. So, we’re looking it as, if we’re still on this side of the ground and we could do it, there’ll be another one, simply because the fans deserve it. And we’re still having a good time doing what we do.”
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Although all three of frontman Maynard James Keenan’s main projects (Tool, A Perfect Circle, and Puscifer) share several traits, they each have enough that’s unique to be distinguished and justified. In particular, Puscifer eschew some of APP’s emotional alt-rock commerciality and Tool’s progressive/psychedelic metal indulgencies in favor of exorcising Keenan’s most bizarre and boundless rock tendencies.
It’s always worked out quite well, and the aptly named Normal Isn’t (which arrives over five years after predecessor Existential Reckoning) is another fascinating testament to the wonders of his “creative subconscious.”
The same lineup from Existential Reckoning returns here, and the record is bolstered by guest appearances from Tool drummer Danny Carey, legendary bassist Tony Levin, and Ian Ross (father of Atticus Ross). The band view the album as “modern post-punk . . . with a dash of goth-tinged drama” and touches of new-wave. It’s an accurate description, and Normal Isn’t also sees Keenan incorporating music software such as Logic and Pro Tools to fine-tune his ideas.
Along the same lines, multi-instrumentalist Mat Mitchell says that the trio wanted to make Normal Isn’t more guitar-driven to achieve more “rawness and edge.” As usual, the LP also finds a solid balance between metaphysical, poetic, and sardonic lyricism as it explores the abnormality of modern times.
Right away (via opener “Thrust”), you know you’re in for a musically, vocally, and intellectually stirring ride. Off-kilter percussion and unsettlingly atmospheric instrumentation support the duality of Keenan and Carina Round’s quirky melodies. They’re an irreplaceable duo who offset playful animosity with angelic breathers, and all the while, they offer cynically contemplative observations (“Bicker bicker bicker / People getting sicker / Needle needle needle / Giggle giggle titter / Fucking agitators / Rabble goading rabble / Trying not to murder’s / Daily fucking battle”).
Afterward, Normal Isn’t constantly reinvents that foundation so that every piece of the puzzle fits without it ever sounding repetitive or lazy. Rather, there’s always something new to discover and appreciate as Puscifercontinue to innovate (rhyme not intended).
For instance, there’s the relatively radio-friendly title track and “The Quiet Parts” (both of which are cut from the same cloth as Steven Wilson’s The Future Bites and The Harmony Codex), as well as the more subdued and eerie electronic bases of “Bad Wolf,” “ImpetuoUs” and “Pendulum.” Plus, the group get really experimental with the intersecting vocals, hyperactive industrial textures, and clever production of “Self Evident,” “Mantastic,” and the especially cinematic and complex “Seven One.”
Despite not being a formal part of the album (it was originally released in 2024 as part of the soundtrack to Sumerian Comics’ American Psycho comic book series), “The Algorithm (Sessanta Live Mix)” is a welcomed way to end. The band clearly brings invigorating live energy to this version of the track, showcasing their ability to be even more exhilarating on stage, and hearing the crowd cheer enhances the experience.
As with pretty much everything Keenan puts out, Normal Isn’t is wonderfully entertaining, ambitious, and thought-provoking. Specifically, it illuminates Puscifer’s sustained drive to present something that’s simultaneously mature and meaningful yet fun and unpredictable musically and academically. Keenan and Round’s chemistry continues to be the trio’s greatest asset (which isn’t to say that their other components aren’t great, too), and expectedly, it rewards repeated listens. Whether it surpasses its predecessor(s) is obviously a subjective opinion, but its heightened aggression and focus surely make it a distinctive but fitting addition to Puscifer’s catalog.
Release Date: February 6th, 2026
Record Label: Recordings / BMG
Genre: Experimental Rock / Art Rock
1. Thrust
2. Normal Isn’t
3. Bad Wolf
4. Self Evident
5. A Public Stoning
6. The Quiet Parts
7. Mantastic
8. Pendulum
9. ImpetuoUs
10. Seven One
11. The Algorithm (Sessanta Live Mix)
Order the album here
The post PUSCIFER – Normal Isn’t (Album Review) appeared first on Sonic Perspectives.
Review & Photos by Jordan West
Guitarist Billy Gibbons and the BFG Band made a stop in Anaheim and gave the crowd a taste of what it is like when a legend comes out to jam. Gibbons, the long-time leader of “That lil’ol’band from Texas” ZZ Top, has been touring with this particular trio — bassist Mike “The Drifter” Flanigin and drummer Chris “Whipper” Layton, both members of his Texas-based side project The Jungle Show, which also included guitarist Jimmie Vaughan.
The crowd was alive and in great anticipation, many of them members of the music industry, as the 2026 NAMM Convention had just wrapped up, and, as an attendee, I noticed many audience members who had been in the halls of the Anaheim Convention Center all weekend.
Right on time, at 8:00 sharp and without an opening act, Gibbons and the BFG Band hit the stage — looking like “sharp- dressed men” in their matching rhinestone-enhanced suits made by the legendary Beverly Hills suit-maker Nudie, matching flower-design guitars, with various skateboards strewn around — and launched into the classic ZZ Top blues number “Waitin’ For the Bus” and, just like on the 1973 Tres Hombres release, segued into the slow, grinding blues number “Jesus Just Left Chicago.” This set the pace for the upcoming 19-song set. Just some inspiring, biting, blues played by a trio of Texans who play the blues the way they were intended to be played.
Gibbons has always had his own sound, and for years so many have tried to replicate it. Most have failed. I noticed that Gibbons’ guitar, as well as Flanigin’s, were plugged directly into a backline of Magnatone amplifiers, which are famous for their rich, full tones. And that they were, all evening long. That sweet sound that so many guitar players have salivated over was evident during a cool cover of Slim Harpo’s classic “I Got Love If You Want It,” followed by ZZ Top’s pleading “Blue Jean Blues” that brought out a huge applause from the crowd.
Gibbons paused to address the crowd and spoke about his time with his late 1960s band The Moving Sidewalks and his experience opening for the Jimi Hendrix Experience. He said they played two of Hendrix’s songs during their set, and when he came offstage, Hendrix grabbed him by the shoulders and said, “I like you. You got a lot of nerve.” Tonight, Gibbons smiled and then he and the band played a bang-up version of Hendrix’s “Foxy Lady” with Flanigin playing organ instead of bass guitar. He excels at both.
The BFG Band then tore into the early ZZ Top catalog, starting with 1972’s rocking “Francine,” which Gibbons explained he had to change the words from “My Francine just turned 13, she’s my angelic teenage queen” to “18” for obvious reasons. Drummer Chris Layton, who previously manned the drums for the late Stevie Ray Vaughan and Kenny Wayne Shepherd, among others, is a “drummer’s drummer.” He uses his wrists more than pure power, and his accents and cymbal control keep him, as we drummers like to say, “in the pocket” at all times. His contributions to early ZZ Top classics that followed — “Just Got Paid,” the wonderful “Precious and Grace,” and the rocker “Beer Drinkers and Hell Raisers” — brought out the best in Gibbons and Flanigin, without deviating too much from the original recorded versions. The sign of a true pro.
This was especially evident during “Nasty Dogs and Funky Kings” with its stops and starts and various accents, all the while letting Gibbons fly. He absolutely BLAZED across his fingerboard during this number. It was a true band-jam and a highlight for me and all others in attendance to witness.
“Let’s lock the doors up and keep playing,” Gibbons excitedly said more than once during the evening. Sporting a white Stetson hat over his trademark green Bamileke beanie, I almost expected them to fly off his head at any time. The playing was that firey! “Sharp Dressed Man,” probably ZZ Top’s most popular latter-career hits, was performed almost as a must before Gibbons and company went back to ZZ Top’s first album for the rocking blues of “Brown Sugar.”
Gibbons playfully teased the audience with a snippet of “Mexican Blackbird” before Layton played the familiar opening rim-rolls that led to the set-ending, groove of the ZZ Top classic, “La Grange.” As many times I have heard (and played…) this song, it never gets old. Tonight, the BFG band put in some spice by taking it to new heights but keeping it low to the ground. This number is, to me, the quintessential Gibbons and ZZ Top sound. The Magnatone amps shook, as Gibbons and company rocked them in ways that only a true master can. As I looked around, as the song finished, it was all smiles from band and audience alike.
A standing ovation from the crowd brought the band back to finish the show with an inspired, and fun Texas-styled shuffle of “Thunderbird.” The chorus of “Get high, everybody get high” was shouted along by all, and my feet were stomping the floor like it was a Texas roadhouse filled with peanut shells.
Layton came out from behind his Mexican blanket and Sombrero-adorned drum kit, and the band smiled and bowed for their adoring audience. It was a truly inspired performance from three pros, the perfect cap to an outstanding NAMM convention weekend that provided a great vibe and a mutual love of live music and all that it brings.
Billy Gibbons and the BFG band will be performing at various cities this year. Do yourself and see this master and his combo perform songs that are as deep and huge as the heart of Texas. My thanks to those that made it possible for me to attend.
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The post HANABIE. Release New EP ‘HOT TOPIC’ appeared first on Mayhem Music Magazine.
Multi-GRAMMY® Award-winning Rock and Roll Hall of Fame® inductees Aerosmith have announced the release of their forthcoming Aerosmith (Legendary Edition) on March 20, 2026. For the first time, the Boston rock legends (Steven Tyler, Joe Perry, Tom Hamilton, Brad Whitford and Joey Kramer) have assembled the definitive version of their multiplatinum self-titled debut, Aerosmith, originally released in 1973. In an effort to finally present their unfiltered vision now, Aerosmith Co-Founders Ste
Aerosmith (Legendary Edition) will be available via Capitol Records / UMe in multiple configurations, outlined in detail below, including a 5LP Box, 4LP Slipcase, 1LP Black / 1LP Color, 3CD, 1CD, and Digital. Exclusive merchandise will also be available. Pre-order/Pre-save HERE on the group’s official store.
To celebrate its arrival, Aerosmith just shared “Mama Kin (2024 Mix)” as an instant grat track, kicking the energy of the original into high gear and giving fans a taste of what to expect from the newly-mixed version of the record.
The various album configurations include the limited-edition Aerosmith (Legendary Collector’s Edition). Housed in a stunning 5LP Deluxe Box Set, it boasts the Original Album now remastered on 180g Clear Vinyl, the brand-new 2024 Album Mix pressed on 180g translucent Red Vinyl, a highly sought-after live performance from Paul’s Mall back in 1973 on 180g Black Vinyl, a host of recently unearthed and unheard studio tracks on 180g Black Vinyl, and an exclusive clear UV cloud-effect 12” vinyl with “Dream On” (2024 Remaster) and “Dream On” (2024 Mix) placed atop a printed sky-blue slipmat. With creative direction and iconic images by renowned photographer Ross Halfin, the package documents the genesis of Aerosmith with a very special hardback book featuring never-before-seen photos. Penned by author and veteran music writer Rick Florino, the liner notes tell the story of Aerosmith in the band’s own words with new interviews with all five original members as well as perspectives, thoughts, and adoration from the likes of Dolly Parton, Corey Taylor of Slipknot, Mike McCready of Pearl Jam, Jerry Cantrell of Alice In Chains, Chris Robinson of The Black Crowes, Slash of Guns N’ Roses, Sully Erna of Godsmack, and more. The package also features an exclusive fold-out 24” by 36” poster and sticker sheet. The box itself unfolds into a 3D Aerosmith popup Diorama.
Additionally, two exclusive fanpacks are available for purchase. The Aerosmith – Legendary Collector’s Edition Fanpack features the 5LP Deluxe Box Set and a satin bomber jacket, and Aerosmith – Legendary Edition Fanpack includes the Translucent Red Vinyl as well as a brand-new band T-Shirt.
Aerosmith (Legendary Deluxe Edition) consists of 4 LPs pressed on 180g Black Vinyl packaged in a premium slipcase with the remastered Original Album, the 2024 Album Mix, Live At Paul’s Mall and the unearthed and unheard studio tracks on 2LPs accompanied by a book with the new liner notes, photos, and more.
Then, there’s the 3CD Aerosmith (Legendary Expanded Edition). It comprises the remastered Original Album, 2024 Album Mix, Live at Paul’s Mall, and the unearthed and unheard studio tracks. The 16-page booklet features new photos.
The Legendary Edition CD arrives with a 12-page booklet complete with photos, while the Legendary Edition LP is pressed on 180g Black Vinyl or limited-edition Translucent Red Vinyl encased within a numbered premium tip-on jacket.
Beyond the new mixes, the collection boasts a slew of hidden gems—which even Aerosmith’s most ardent faithful have never experienced until now. Among those, listeners will uncover the “Harmonica Bass Jam Jelly,” an unfiltered rehearsal and alternate take of “Make It,” and the almost six-minute epic “Joined At The Hip.” The latter jam illuminates their off-the-cuff chemistry in the early days and even previews the nascent “Sweet Emotion” lick on the bridge.
Aerosmith first released their self-titled debut, Aerosmith, on January 5, 1973. They had notably recorded it in the heart of Boston at Intermedia Studios on Newbury Street, cutting future classics “Make It,” “Mama Kin,” and, of course, “Dream On” during the sessions. The record’s success would be one of rock ‘n’ roll’s most famous slow-burn underdog stories. Upon its release, the quintet had hit the road hard for the next two years until “Dream On” finally took flight in the latter half of 1975. It eventually climbed into the Top 10 of the Billboard 200 and has persisted as arguably one of the most popular rock ‘n’ roll songs in history, landing on Rolling Stone’s “500 Greatest Songs of All Time,” gaining induction into the GRAMMY® Hall of Fame in 2018, and even eclipsing 1.5 billion streams on Spotify to date.
Later certified 2x-Platinum by the RIAA, the album finds the band at their rawest, packing a one-two punch of lean distorted riffing, bluesy grooves, and seismic vocals and effectively setting the template for not only the next 50 years of their career, but rock ‘n’ roll at large.
Before all of the accolades, sold-out stadiums, and expansive catalog of classics, Aerosmith is where it all began…
Most recently, Aerosmith just collaborated with YUNGBLUD on the acclaimed new One More Time EP. It catapulted to #1 on the Billboard Top Rock & Alternative Albums Chart and #9 on the Billboard 200, making history and enshrining Aerosmith as “the second group—and fifth act overall—to notch a Top 10 in each of the last six decades,” according to Billboard. Not to mention, the EP has amassed tens of millions streams already.
TRACKLISTING
CD1 – “Aerosmith” Original Album Remastered 2024
1. Make It (2024 Remaster)
2. Somebody (2024 Remaster)
3. Dream On (2024 Remaster)
4. One Way Street (2024 Remaster)
5. Mama Kin (2024 Remaster)
6. Write Me A Letter (2024 Remaster)
7. Movin’ Out (2024 Remaster)
8. Walkin’ The Dog (2024 Remaster)
CD2 – “Aerosmith” Original Album Remixed 2024
1. Make It (2024 Mix)
2. Somebody (2024 Mix)
3. Dream On (2024 Mix)
4. One Way Street (2024 Mix)
5. Mama Kin (2024 Mix)
6. Write Me A Letter (2024 Mix)
7. Movin’ Out (2024 Mix)
8. Walkin’ The Dog (2024 Mix)
CD3 – Paul’s Mall Live Performance March 20, 1973 + Bonus Tracks
1. Introduction (Live at Paul’s Mall, 1973)
2. Make It (Live at Paul’s Mall, 1973)
3. One Way Street (Live at Paul’s Mall, 1973)
4. Somebody (Live at Paul’s Mall, 1973)
5. Write Me A Letter (Live at Paul’s Mall, 1973)
6. I Ain’t Got You (Live at Paul’s Mall, 1973)
7. Mother Popcorn (Live at Paul’s Mall, 1973)
8. Movin’ Out (Live at Paul’s Mall, 1973)
9. Walkin’ The Dog (Live at Paul’s Mall, 1973)
10. Train Kept A Rollin’ (Live at Paul’s Mall, 1973)
11. Mama Kin (Live at Paul’s Mall, 1973)
Bonus Tracks
12. Train Kept A Rollin’ (Session Take)
13. Make It (Rehearsal Take)
14. Make It (Alternate Take)
15. Write Me A Letter (Alternate Take)
16. Harmonica Bass Jam Jelly (Session Take)
17. Joined At The Hip (Aerojam)
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The post Aerosmith To Release Legendary Edition of Their Debut Album in March appeared first on Mayhem Music Magazine.
Mom, musician, and Lilith Fair founder Sarah McLachlan, turns 57 today. Here are our favorite 10 songs from the Canadian siren.
The post Top 10 Favorite Sarah McLachlan Songs appeared first on Rockmommy.com.
Drumeo has released a new playthrough video spotlighting Dream Theater drum icon Mike Portnoy, this time featuring his performance of “Midnight Messiah”. The track comes from the band’s most recent studio album, Parasomnia, and gives viewers a close look at Portnoy’s approach behind the kit on newer material from the band.
The video continues Drumeo’s series of high-profile drummer features, offering fans a detailed view of Portnoy’s technique, timing, and musical choices as he works through the song. It also marks another moment of connection between Portnoy and Parasomnia, an album that has already drawn attention for its ambitious scope and modern edge.
In related news, Dream Theater have announced plans for a 40th Anniversary tour across Latin America, scheduled for April and May 2026. As part of the celebration, the band will perform Parasomnia in full during each show.
In addition to the complete album performance, the setlists will also include the epic track “A Change Of Seasons”, marking the song’s 30th anniversary. The tour is set to honor both the band’s latest chapter and a major milestone from their past, bringing together multiple eras of Dream Theater for fans across the region.
The post MIKE PORTNOY Plays “Midnight Messiah” In Latest Drumeo Playthrough appeared first on Sonic Perspectives.
Powerwolf have released the fourth single from their upcoming live album, Wildlive (Live At Olympiahalle), due out February 13 via Napalm Records. The band continues to tease the release with a fiery performance that captures the scale and intensity of their recent live shows.
The latest single, “1589”, originally appeared on Powerwolf’s 2024 chart-topping studio album Wake Up The Wicked. On the live release, the track stands out as one of the most striking moments, elevated by an elaborate stage setup and dramatic pyrotechnics. The accompanying live video puts viewers directly inside the spectacle, going beyond a standard concert experience. Filmed in Munich during the band’s sold-out Olympiahalle show on the 2024 Wolfsnächte Tour, the footage reinforces Powerwolf’s reputation as a dominant live force.
Reflecting on the release, Powerwolf shared their thoughts on Wildlive (Live At Olympiahalle), saying: “We always knew that no words or short recap videos could truly capture what we experienced together during the Wolfsnächte 2024 tour. Every night was its own kind of magic – still, we wanted to find a way to hold on to those memories and share them in the most powerful way possible. That’s why we decided to record the full, massive, sold-out show at the Olympiahalle in Munich – to preserve just a piece of what we all felt on this tour. Wildlive (Live At Olympiahalle) is more than a live release. It’s a tribute and manifestation to the moments we created together.”
Formed in 2004 as an unconventional project, Powerwolf have since grown into one of the most successful metal acts worldwide. Wildlive (Live At Olympiahalle) documents that rise, presenting a performance that feels closer to a theatrical production than a typical metal concert. From a fire-breathing church organ and massive pyrotechnics to dark, operatic storytelling and constant crowd engagement, the show leans fully into heavy metal theater. The release will be available across multiple formats, including Blu-ray, DVD, CD, vinyl, and a range of collector-focused editions with exclusive bonus material.
Throughout Wildlive (Live At Olympiahalle), each song is paired with shifting digital backdrops, timed visual effects, and dramatic staging. Elements such as torch-bearing monks, falling snow over a burning piano, and a fiery execution scene add to the atmosphere. Songs like “Army Of The Night”, “Amen & Attack”, “Armata Strigoi”, and “Demons Are a Girl’s Best Friend” take on an even larger presence, while more emotional moments like “Alive or Undead” create a powerful contrast. The interaction between frontman Attila Dorn and organist Falk Maria Schlegel gives the performance a ritualistic feel from start to finish.
Rather than simply revisiting past highlights, Wildlive (Live At Olympiahalle) also signals a new phase for the band. Powerwolf continue to push beyond genre labels, turning their concerts into communal events built on metal, emotion, and spectacle. With this release, they underline once again that what they create is meant to be experienced as something larger than music alone.
Wildlive (Live At Olympiahalle) will be available in the following formats:
Pre-orders for Wildlive (Live At Olympiahalle) are available now.
The post POWERWOLF Shares Official Live Video Of “1589” From Upcoming Live Album “Wildlive (Live At Olympiahalle)” appeared first on Sonic Perspectives.
