Motley Crue have announce that they are bring back their ‘Carnival of Sins’ Tour for 2026. This time they are bringing along Extreme and Tesla. It seems that John 5’s use of make up during his solo tours has rubbed off on the rest of the crue that they are following his lead and bringing back the show that best used that imagery.

Here are the dates so far.

THE RETURN OF THE CARNIVAL OF SINS – 2026 TOUR DATES:
Fri, Jul 17, 2026 — Burgettstown, PA — The Pavilion at Star Lake
Sat, Jul 18, 2026 — Buffalo, NY — Darien Lake Amphitheater
Mon, Jul 20, 2026 — Clarkson, MI — Pine Knob Music Theatre
Wed, Jul 22, 2026 — Toronto, ON — RBC Amphitheatre
Fri, Jul 24, 2026 — Gilford, NH — BankNH Pavilion
Sat, Jul 25, 2026 — Bangor, ME — Maine Savings Amphitheater
Mon, Jul 27, 2026 — Camden, NJ — Freedom Mortgage Pavilion
Wed, Jul 29, 2026 — Saratoga Springs, NY — Saratoga Performing Arts Center
Fri, Jul 31, 2026 — Holmdel, NJ — PNC Bank Arts Center
Sat, Aug 1, 2026 — Mansfield, MA — Xfinity Center
Mon, Aug 3, 2026 — Bristow, VA — Jiffy Lube Live
Wed, Aug 12, 2026 — Alpharetta, GA — Ameris Bank Amphitheatre
Fri, Aug 14, 2026 — West Palm Beach, FL — iTHINK Financial Amphitheatre
Sat, Aug 15, 2026 — Tampa, FL — MIDFLORIDA Credit Union Amphitheatre
Mon, Aug 17, 2026 — Charlotte, NC — PNC Music Pavilion
Wed, Aug 19, 2026 — St. Louis, MO — Hollywood Casino Amphitheater
Fri, Aug 21, 2026 — Shakopee, MN — Mystic Lake Amphitheater
Sat, Aug 22, 2026 — Tinley Park, IL — Credit Union 1 Amphitheatre
Mon, Aug 24, 2026 — Cuyahoga Falls, OH — Blossom Music Center
Tue, Aug 25, 2026 — Cincinnati, OH — Riverbend Music Center
Thu, Aug 27, 2026 — Grand Rapids, MI — Acrisure Amphitheater
Fri, Aug 28, 2026 — Noblesville, IN — Ruoff Music Center
Tue, Sep 8, 2026 — Kansas City, MO — Morton Amphitheater
Thu, Sep 10, 2026 — Dallas, TX — Dos Equis Pavilion
Fri, Sep 11, 2026 — Houston, TX — The Cynthia Woods Mitchell Pavilion
Sun, Sep 13, 2026 — Albuquerque, NM — Isleta Amphitheater
Wed, Sep 16, 2026 — Phoenix, AZ — Talking Stick Resort Amphitheatre
Fri, Sep 18, 2026 — Chula Vista, CA — North Island Credit Union Amphitheatre
Sat, Sep 19, 2026 — Long Beach, CA — Long Beach Amphitheater
Mon, Sep 21, 2026 — Salt Lake City, UT — Utah First Credit Union Amphitheatre
Wed, Sep 23, 2026 — Wheatland, CA — Toyota Amphitheatre
Thu, Sep 24, 2026 — Mountain View, CA — Shoreline Amphitheater
Sat, Sep 26, 2026 — Ridgefield, WA – Cascades Amphitheater

The post Motley Crue Announce Tour Dates with Extreme and Tesla for Summer 2026 appeared first on Mayhem Music Magazine.

“I remember it was here I died”

Mayhem’s The Freezing Moon (or just Freezing Moon depending on which version you’re listening to) is one of the monumental classics of black metal. The opening E minor chord alone is the definitive example of the epic, frosty, and evil feeling the genre should evoke. There are a number of superb versions of this track but the most seminal version has to be this one from Live In Leipzig. Recorded crudely on a ghetto-blaster from a 1990 club gig in East Germany, by the time Live In Leipzig was officially released in 1993 the band’s Swedish frontman Per Yngve “Dead” Ohlin had committed suicide. At the time, this recording was one of the few available that featured his vocals. And the subsequent events surrounding the Norwegian band only added to its stature as a landmark recording. No song on the album lives up that stature more than The Freezing Moon: Dead’s introduction “when it’s cold and when it’s dark, the freezing moon can obsess you” is iconic; the raw and primitive sound puts you right in the audience; the band’s thunderous performance and Dead’s gravelly vocals are powerful and committed; and Euronymous delivers an incredible take of the track’s grippingly uneasy and unforgettable guitar solo. It’s an essential and thrilling metal document. Like Dead said… it’s cold, and it’s dark. And it will obsess you.

Good Day Noir Family,
Hallucinophonics deliver a fascinating journey with their single “Born on a Train,” a track that thrives on atmosphere, nuance, and careful restraint.

Born on a Train is Hallucinophonics’ Single Out Now

Instead of rushing forward with rock bombast, the band builds a world that feels suspended in time.

An elegant arpeggio opens the piece and wraps the listener in a misty haze, as though stepping onto a deserted platform at dawn. That guitar figure carries a tone reminiscent of Pink Floyd’s more reflective eras.

Soon after, an unexpected flute enters the mix. That moment shifts the narrative in a surprising direction, evoking classic rock influences from the early ’70s. The instrument does not feel ornamental. Instead, it guides the song into a dreamy realm where nostalgia and experimentation coexist. Because of this, the track gains depth without overwhelming the understated core.

The vocals deserve attention as well. The performance carries a theatrical edge, but it stays intimate and sincere. The singer delivers each line with emotional weight, almost as if whispering a secret to the listener. This approach fits perfectly with the minimalist structure. Rather than pushing for power, the voice draws you in slowly, creating curiosity and tension.

The single maintains a deliberate simplicity. Every element feels chosen with intention. There are sudden variations that introduce new colors, yet the arrangement never loses control. The band allows space to breathe, giving the music a hypnotic quality. That restraint mirrors the visual component accompanying the release: a black-and-white train traveling through a surreal landscape. The image reinforces the idea of movement through a dreamlike void, a journey without clear destination but filled with symbolic meaning.

What stands out most is the group’s creativity. Hallucinophonics clearly enjoy crafting detailed musical environments that reward focused listening. Their ability to merge psychedelic touches, classic rock references, and modern sensibility results in a single that lingers long after it ends. “Born on a Train” invites listeners into a mirage where time bends, emotions drift, and imagination takes the lead. It feels familiar and unique, showing a band with a strong artistic identity and a clear direction.

Born on a Train is Hallucinophonics’ Single Out Now!

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Hypnotic!

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Omega – The Hall Of Floaters In The Sky (CD) Die Original LP stammt aus dem Jahr 1975 (die CD von 1993), aber die Band

Good Day Noir Family,
The7thGatekeeper’s Around This Edge Together unfolds like a descent into a shadowed realm where hard-edged riffs, atmospheric mystique, and theatrical storytelling merge into one vivid experience.

Around This Edge Together is The7thGatekeeper’s album Out Now

The project feels handcrafted by an artist who thrives on contrast—quiet tension rising toward explosive release, minimalism shifting into a wall of sound, and whispered emotion transforming into roaring force.

Because of this, the album moves with a striking cinematic spirit.

The opening track, “Not to Be Taken,” greets the listener with a sinister whisper that coils through the air. That whisper soon expands into something wild and forceful, almost like standing beside rapids that churn without warning. The7thGatekeeper plays heavily with dynamics here, letting the arrangement breathe before pushing it forward through distortion, sharp edges, and sudden rhythmic punches. Consequently, the opener establishes the artist’s bold vision.

With “5588,” the album pivots dramatically. The track begins as a ritualistic lament, evoking the lonely stillness of Nirvana’s Something in the Way. The first half is stark and desolate, guided by minimal instrumentation and a haunting vocal line that hangs in the air like cold mist. Yet the song soon thickens as drums and guitars descend with weight and purpose. That shift turns the piece into something far more intense, almost funereal in tone.

“Amulet” lifts the pace with a gripping guitar riff that introduces a rockier momentum. There is a hint of Queens of the Stone Age in the swagger, yet the writing still feels distinctly personal. The groove is tight, the pulse is confident, and the track’s structure flows with instinctive strength.

The next highlight, “Wrapped,” drifts instead into something ethereal. Delicate textures rise gently before giving way to a vocal performance that borders on theatrical. Subtle shades of Bowie float through the melody, lending the track a sense of timeless dreaminess. Although the mood becomes lighter, the song never loses its underlying tension.

“The Garden” moves into an even more eclectic space. The introduction carries hints of Incubus with its fluid guitar lines and airy atmosphere. This shift proves The7thGatekeeper’s versatility, as he handles contrasting genres without losing his core identity. The track grows steadily, creating a sense of forward motion while still leaving room for introspective moments.

The album concludes with the impressive “(Fear) Wet State,” a piece that begins with an entrancing arpeggio before rising into something grand and darkly beautiful. Its energy feels massive yet controlled, almost like drifting above a forest at night with only moonlight to guide the way. Subtle traces of Type O Negative appear in the mood, giving the closer a heavy but seductive intensity.

Overall, Around This Edge Together is an album built on emotion, risk, and stylistic depth. The7thGatekeeper moves fluidly through hard rock, atmospheric art-rock, alternative textures, and darker shades of metal, all while maintaining a distinct compositional voice. An ambitious journey that rewards every moment spent inside it.

Around This Edge Together is The7thGatekeeper’s album Out Now!

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Visionary!

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Good Day Noir Family,
Joe Hodgson has already proven himself a gifted guitarist, yet Fields Of Redemption shows something far more ambitious: an artist who refuses to separate music from cinema, emotion from vision, or story from sound.

Fields Of Redemption is Joe Hodgson’s Short Movie Out Now

His new short film, built around the album of the same name, is a bold experiment that transforms a full instrumental record into a narrative experience.

The result is not simply a video companion to an album. Instead, it evolves into a hybrid piece of art where the music becomes the heart of a 40-minute journey through desire, regret, fantasy, and cosmic mystery.

While many musicians release lyric videos, performance clips, or AI-generated visuals, Hodgson raises the bar dramatically. The project blends traditional filmmaking with sequences enhanced by artificial intelligence, but importantly, it does not rely on AI as a shortcut. Rather, it uses the technology as an expressive tool. With live actors, recognizable talent like Hugo Nicolau, real locations, and purposeful cinematic editing, the film turns its AI imagery into part of the storytelling—not a distraction. The director, David J. Ellison, clearly understands how to merge these elements with intention. Consequently, the film feels cohesive, daring, and emotionally rich.

The basic plot follows an Irish musician navigating various parallel realities in search of the woman he loves. She has vanished under mysterious circumstances, and the story unfolds across noir-tinged city streets, dreamlike corridors, and futuristic landscapes. The central character, played by Hodgson, moves through these shifting environments as if pulled by a force he can neither explain nor resist. Although the film contains almost no spoken dialogue, the emotional cues remain strong because Hodgson’s guitar lines carry the storytelling weight.

Furthermore, the relationship between the music and the imagery feels carefully matched. Each instrumental track acts like a chapter, guiding the audience through the inner life of the protagonist. Sometimes the guitar cries with longing; sometimes it surges with anger; sometimes it drifts into a kind of cosmic uncertainty. Because of this, the film often resembles a modern silent movie. Visuals speak where words are absent, and the soundtrack becomes a narrator.

The AI portions offer some of the most striking moments. Rather than using generic prompts, the film builds whole environments that shift fluidly with the musical energy. At one point, reality fractures into impossible geometry. Later, the screen becomes a glowing landscape that looks like a cross between a fever dream and a mythological painting. These transitions help express the emotional turbulence of the main character as he chases memories, illusions, and fears. The approach adds psychological depth while also pushing the visual language into futuristic territory.

Still, the film never leans too heavily into abstraction. Ellison balances the surreal moments with grounded scenes where Hodgson himself appears, playing guitar with a sense of intensity and longing. These segments remind the audience that music, not technology, is the center of the project. In other sequences, the story introduces a femme-fatale element, delivered with confidence by actress Emma Duffy. She shifts easily from romantic partner to mysterious figure, and her presence adds an additional layer of intrigue.

One of the standout scenes involves a DeLorean, a clear nod to Back to the Future. Rather than using the reference as a simple joke or nostalgic detail, the film inserts it into a scene that pushes the plot into a new dimension. The DeLorean becomes a symbolic vessel for transition and escape, merging sci-fi references with personal emotion. It is playful but purposeful.

Another memorable moment arrives when the protagonist and the mysterious woman appear inside an alternate reality that resembles a neon-lit void. Here, Hodgson’s guitar acts almost like a voice calling through a tunnel. The scene suggests that love can exist even when identity, memory, and time begin to crumble. Because this emotional thread ties the film together, the story stays human even at its most surreal.

Additionally, the editing strengthens the project significantly. Instead of treating each song as an isolated performance, the film allows images to flow through scenes with a smooth, almost dreamlike pacing. Yet the rhythm never becomes dull. Movement, color, and tension continue to evolve. Because of this, the viewer remains engaged throughout the entire 40-minute runtime.

The film also marks a significant milestone in modern filmmaking. While many artists experiment with AI visuals, few integrate them at this scale and with such intentionality. Fields Of Redemption is likely one of the earliest long-form narrative films to merge traditional cinematography with AI-generated sequences while maintaining a coherent emotional arc. It feels like a preview of a new era where musicians, filmmakers, and digital artists collaborate more freely.

Importantly, though, the film works because the foundation—the music—is strong. Hodgson’s album already carries a dramatic tone, shaped by expressive guitar phrasing and cinematic structures. The film amplifies these qualities while giving them new shape. Rather than illustrating the music literally, it interprets it through narrative metaphor. As a result, the album and the film gain new meaning.

The film proves how far an artist can go when he abandons limitations and embraces experimentation. Hodgson, Ellison, and their cast deliver a project that stands out in the modern creative landscape, not only for its beauty and mood but also for its ambition.

Fields Of Redemption is Joe Hodgson’s Short Movie Out Now!

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Visionary!

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“Fields Of Redemption” is a story of love, lust, betrayal, illusion, valour and victory, told through the lens of the guitar. It chronicles an epic journey through a timeless multiverse, as a resolute Irish musician goes in search of the love of his life after her mysterious disappearance.

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Good Day Noir Family,
Prince of Sweden’s The Start of Something Beautiful feels like an introspective journey across memory, identity, and emotion, painted in sonic tones that shift between nostalgia and discovery.

The Start of Something Beautiful is Prince of Sweden’s Album Out Now

The record opens with “James, I Can’t Stay,” a song that begins with a choral-like introduction, almost sacred in tone, before unfolding into a refined ballad.

There’s something timeless in its structure — it recalls the warmth of classic singer-songwriter traditions while carrying an understated modern elegance.

“St Pancras” follows with a guitar riff that recalls the shadowy pulse of Depeche Mode’s “I Feel You.” The track grows with deliberate tension, anchored by Prince of Sweden’s distinctive vocal phrasing and intricate melodic development. His songwriting is rich in contrast — tension and release, intimacy and distance — and this song embodies that balance beautifully.

“7.12” takes a slower turn, beginning with soft piano and faint guitar tones that evoke the sensation of fog slowly rolling in. Its melancholy lingers in a way that feels mysterious and grounding. The restrained instrumentation builds keep the listener in quiet anticipation, maintaining an emotional depth that resonates long after the track ends.

Then comes “Role Playing Games,” perhaps the album’s most surprising shift. The introduction of flutes and Eastern European flourishes gives it a rom-like energy that feels cinematic and full of motion. Meanwhile, “This Long Goodbye” circles back to rhythm-driven melancholy, its melodies gentle yet unforgettable. The title track’s patient pacing and dreamy tone mirror the album’s theme — the delicate process of beginning something new while still holding on to what came before.

“When Paris Wakes” bursts into color with a western-meets-espionage vibe. There’s swagger here — shades of Tarantino, echoes of seventies rock, and a cinematic edge that could soundtrack an early-morning chase through a waking city. The instrumental closer, “[glib outro],” feels almost like a carousel turning slowly in twilight — nostalgic, slightly eerie, but peaceful.

Prince of Sweden has crafted an album that bridges eras and emotions with rare finesse. The Start of Something Beautiful is both reflective and forward-looking — an elegant, moody, and cinematic collection that stays with you.

The Start of Something Beautiful is Prince of Sweden’s Album Out Now!

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Cinematic!

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The Start of Something Beautiful is Prince of Sweden’s Album Out Now

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Detroit rock trio release their self-titled debut, Winds Of Neptune.

The story goes that three musicians got together in a basement during the pandemic and started jamming in seclusion. I bet that happened a lot. I would also wager that none of the other groups turned out to create such excellent heavy psych bluesy metal as Winds Of Neptune. Their debut album is a feature of the year. The band is Ross Westerbur (bass, vocals), Mike Alonso (drums), and Kevin Roberts (guitar).

“The Faun’s Rhyme” breaks the ice with a rhythm that sounds like it might have channeled White Stripes memories and guitar work that will heat up your vessels. The music is a little bit like a boogie version of Corrosion of Conformity. A guitar-driven knuckle-duster in the politest possible way, you might say. “Gas Giant” is the first of the long songs, and its title is not self-referential (Neptune is an ice giant, not a gas giant) so it must be a song about envy. It is a bluesy beauty – love this song. “La Cacciata” is a punchy piece and a great way to close the side.

The dark side of the planet has three more killers. “Temporal Mutant” is one of those songs with enough air between the notes to give you breathing space, and the occasional opening for a slug or a deep drag. “U. S. L.” starts out almost like a power ballad, but it settles into a fine tromp as it goes along, and the guitar solo is unimpeachable. “So Sayeth The Mouth Of The Void” walks us out on a nine-minute plank with such a menacing cook that you hate to leave.

There are also a couple of long songs included as bonus tracks. Really, they just wouldn’t fit on the vinyl so they only appear on the CD and digital versions. I guess that still counts as a bonus for those latter formats. “The Fitz” and “Queen Of Sumatra” deserve as much attention as the six main songs. They have a different feel to them, especially “The Fitz,” which takes us to a dark lounge. If you choose to buy the vinyl, make sure you listen to these songs as well on a stream. This album is amazing – it took me places I did not expect to go. Highly recommended.

Winds Of Neptune is out from Small Stone Records on Friday, November 21^st. You can listen and buy at the links below.

Links.

Bandcamp, https://smallstone.bandcamp.com/album/winds-of-neptune

Facebook, https://www.facebook.com/windsofneptune

Small Stone Records, https://smallstone.com/

© Wayne Edwards

All of the emotions I can never quite find the words to express seem to exist effortlessly within April Magazine’s hushed melodies and glacial textures. Each release further refines their unmatched lofi beauty, making Falling Window their most affecting release to date.

As is customary, Falling Window’s enveloping wash of sound is best experienced in a full sitting, making the singling out of individual tracks different. Having said that, Katiana Mashikian’s breathtaking wordless melodies on As You Turn are a worthy entry point for the uninitiated, as is the languid acoustic driven wonder of the Peter Hurley fronted Hollow Stars.

Capturing the DIY spirit of the Bay Area underground at its fullest and most free, April Magazine channel all of life’s highs, lows, light and darkness through their captivating soundworlds. Essential.

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Falling Window is available for digital download here. You can pick up a very limited tape edition via World Of Echo here.

Good Day Noir Family,
Bryan Hill & the Layabouts deliver a wild, genre-twitching burst of creativity with “Baby Zombies,” a track that feels like the opening scene of a stylish thriller unfolding under neon rain.

Baby Zombies is Bryan Hill & the Layabouts’ Single Out Now

A shadowy swell sets the tone and, quickly after, a gritty guitar riff walks in with the swagger of someone who has lived a thousand late-night stories.

The energy is smoky, urban, and dangerous in the best way — that sweet spot where alternative rock meets vintage hard-rock spirit.

The vocal line slinks across the verses with hypnotic pull. There’s a cool tension in the delivery, and each phrase feels slightly haunted, as if whispered down a dim alleyway. The chorus then punches through with a sharp jolt, thanks to that memorable “Hey! Hey! Hey!” hook that brands itself in your memory almost instantly. Without forcing it, the band balances polish and raw nerve.

Just when you think the band has revealed all their tricks, everything breaks open around the 2:20 mark. A flute swoops in — yes, a flute — and suddenly the track channels the mystical surprise of Led Zeppelin’s more experimental corners. It’s cinematic, bold, and a little surreal, like stepping through a secret door into a different universe. Then, without losing momentum, the guitar steps forward again, offering a melodic solo filled with long notes and vibrant bends before kicking briefly into a brisk run. That moment bursts with emotion and launches the final stretch.

The production feels rich but never over-built, and the dynamics breathe in a way many modern rock tracks forget how to do. Bryan Hill & the Layabouts prove they can nod to classic giants while still sounding fresh and unpredictable. Their chemistry burns through the mix, and the track’s structure shows a band entirely unafraid to play, explore, and surprise.

“Baby Zombies” is a nocturnal chase, a hallucinated bar-room dream, and a stylish reminder that experimentation and hooks can live in the same body. Refreshing, electric, and daring, this single makes it clear: this band knows exactly who they are, and they’re having a blast proving it.

Baby Zombies is Bryan Hill & the Layabouts’ Single Out Now!

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Electric!

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Bryan Hill & the Layabouts, hailing from Albuquerque, United States, bring a fresh and innovative sound to the music scene. Bryan, the main songwriter of the group, draws inspiration from a variety of influences, including the New York Dolls, Metallica, Collective Soul, and Glitz Biarritz. 

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