The news comes ahead of three scheduled shows at Estadio River Plate in Buenos Aires

In November 2025, during a run of Australian shows celebrating the legacy of legendary guitarist Randy Rhoads, Quiet Riot founding member Kelly Garni was joined on stage by Australian rock powerhouse Snake Bite Whisky for a special performance of the track Killer Girls. What began as a one-off moment during the show quickly sparked a […]

As Ten Years After release an expanded version of their Ssssh album, founding bassist Leo Lyons recalls a live packed with rock’n’roll flashpoints

Anja Huwe walked onto the stage at Le Poisson Rouge on Bleecker Street in Manhattan looking like she had just stepped out of some glamourous midnight ambush: fluffy black jacket, leather pants, killer heeled boots, and those famous ice-blue eyes staring out over the room with the kind of cool, electric poise that can still make a crowd forget its own name. This was the triumphant kickoff of her first North American tour in forty years…which is the sort of sentence that sounds unreal even when you’re standing there watching it happen, drink in hand, shoulder to shoulder with a room full of devotees.

After a thrilling intro, the band tore into Boomerang, and just like that, all historical reverence got kicked to the curb in favour of the far better business of being gloriously, physically present. Huwe sounded as robust as ever, particularly considering she was fighting off a bad cold, and there was something almost absurdly thrilling about hearing her voice. Huwe proved her legacy was never preserved in amber or propped up by nostalgia; nor gingerly handling old glories like museum pieces, but alive, kicking, and swinging a belt around the stage.

Flanked by Mona Mur (and Tom Ashton of The March Violets), the set moved beautifully between material from Codes and the Xmal Deutschland canon, making a convincing case that this wasn’t some heritage lap or victory crawl through old headlines. Songs like Living in the Forest, Pariah, Exit, and Rabenschwarz carried the newer material with a fierce, tensile grace, while Xmal staples like Geheimnis, Allein, Young Man, Augen-blick, Eisengrau, Autumn, Polarlicht, Incubus Succubus, and Qual arrived like dispatches from a parallel era where post-punk could still sound dangerous, theatrical, and weirdly elegant all at once. Eden, the Mod Con cover, slipped in like a sly little detour, and Sleep With One Eye Open had the room leaning forward as if the floor itself had become conductive.

Huwe, who stepped away from music after Xmal Deutschland’s distinguished run to focus on visual art and painting, has spoken about being haunted for years by the legend of the band and by endless requests to return, all of which she refused until recently. Maybe that’s part of what made this show feel so exciting and fresh: there was none of that grim ceremonial duty that so often dogs long-awaited returns. She was genuinely delighted to be there, dancing, trading energy with her bandmates, cracking little jokes with the audience before snapping back into business with the easy authority of one who knows exactly how much mischief and majesty a room can take.

At one point, she brought out a Polaroid camera and started taking photos of the audience, handing the pictures out to ecstatic fans like party favours from a beautifully strange aunt who had just descended from another dimension. Sacred Bones cohorts were spotted in the crowd, appropriately reverent but also visibly thrilled, because Codes, her first solo album for the label, has helped complete this restoration in a wonderfully organic way.  That record, shaped in collaboration with Mona Mur and sharpened by the return of Manuela Rickers’ guitar presence, carries the same hard emotional line that always made Huwe so powerful. Live, you could hear that continuum clearly: the old material still bristling, the newer songs seamlessly blending in perfectly.

By the end of the night, Huwe admitted she was having some vocal trouble, and you could hear the strain around the edges. But then came the encore, Orient, followed by a second run through Mondlicht, and if there was any fragility in the moment, it only made everything hit harder. The audience happily, loudly and gratefully erupted in pogo dancing and a delightful singalong.

Anja was then generous enough to spend the end of the evening signing treasures and taking selfies with her fans. It was truly heartwarming to behold.

Listen to Codes below and order the album here.

Catch Anja Huwe on tour through the rest of March and early April:

• March 21, 2026 — Chicago, IL — Epiphany Center for the Arts — Tickets
• March 22, 2026 — San Francisco, CA — Great American Music Hall — Tickets
• March 25, 2026 — Los Angeles, CA — 1720 — Tickets
• March 28, 2026 — Mexico City, MX — Mesones72 — Tickets
• March 29, 2026 — San José, Costa Rica — Amon Solar — Tickets
• April 1, 2026 — Costa Rica – Ardan Goth Festival
• April 3, 2026 — Lima, Peru
• April 4, 2026 — São Paulo, Brazil

Follow Anja Huwe:

• Website
• Instagram

Follow Xmal Deutschland:

• Facebook
• Instagram

The post Mondlicht in Manhattan — Xmal Deutschland’s Anja Huwe Opens Her First North American Tour in Forty Years appeared first on Post-Punk.com.

The post Release Round Up – March 20th 2026 appeared first on The Razor's Edge.

Good Day Noir Family,
Pete Lynch approaches MotherFather with a clear sense of direction, crafting an EP that balances experimentation and emotional weight without losing focus.

MotherFather is Pete Lynch’s EP Out Now

The title track opens the record with a gradual rise, establishing a dense and immersive atmosphere that unfolds patiently rather than rushing toward impact.

The compositional style brings to mind echoes of Brian Eno and Peter Gabriel, yet Lynch filters those influences through a distinctly personal lens. The result feels deliberate, with each layer introduced at the right moment to build tension.

“Let’s Celebrate Tonight” shifts the energy with a sharp guitar figure that anchors the track from the outset. In addition, a syncopated groove injects movement, supporting a vocal line that navigates melody with precision. The track highlights Lynch’s willingness to stretch beyond conventional structures while maintaining coherence.

Yet it is “Through the Fire” that leaves a deeper imprint. The rhythm locks into a hypnotic pulse, while subtle tonal choices introduce a Middle Eastern flavor that expands the track’s emotional range. The interplay between percussive elements and melodic phrasing creates a sense of forward motion that feels almost ritualistic. This is where Lynch’s artistic identity becomes fully apparent.

Still, “Let the Loving Begin” offers a contrasting moment, opening with a robotic vocal texture that sets a futuristic tone. When the beat drops, the transition feels purposeful and engaging. The vocal production throughout the EP stands out, often treated with megaphone-like effects and reverb that give Lynch’s voice an almost prophetic presence.

“Eye in the Sky,” originally by The Alan Parsons Project, is reinterpreted with a darker edge. The synth introduction recalls the cinematic tension associated with John Carpenter, adding a subtle sense of unease. Lynch’s vocal delivery remains intense and expressive, reinforcing his strong artistic vision.

“My Forever” closes the EP on a reflective note. The arrangement emphasizes space, allowing textures to breathe while the vocal line carries emotional weight. Even so, the track retains a hypnotic quality that lingers after the final moments. MotherFather stands as a cohesive and forward-thinking release, blending avant-garde instincts with accessible songwriting.

MotherFather is Pete Lynch’s EP Out Now!

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Hypnotic!

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MotherFather is Pete Lynch’s EP Out Now

American singer-songwriter Pete Lynch crafts a distinctive blend of alternative rock, atmospheric electronica, and hip-hop-influenced rhythms, shaping a sound that feels both intimate and wide in scope. His music carries a strong sense of intention, pairing textured production with a deeply personal artistic voice.

Originally from Maryland and now moving between Denver and Vienna, Austria, Lynch channels his diverse surroundings into emotionally rich compositions. With a focus on mood, identity, and human complexity, he creates immersive sonic spaces that resonate on a personal and cinematic level.

 

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Find Pete Lynch Here:

Spotify
Instagram

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Discover New Bands Click Here

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The post MotherFather is Pete Lynch’s EP Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

George Thorogood and The Destroyers are set to release a new live collection, The Baddest Show on Earth: Greatest Hits Live, arriving June 12 via Craft Recordings. The album captures performances spanning 1978 through 2024 and highlights the band’s reputation as one of blues rock’s most enduring live acts.

The release will be available on LP, CD, and digital formats. The vinyl edition features four previously unreleased tracks, while the expanded CD and digital versions include eight unreleased performances. Physical editions also include new liner notes from GRAMMY Award-winning producer and blues musician Scott Billington.

The collection showcases some of the band’s most recognizable songs, including “Who Do You Love,” “One Bourbon, One Scotch, One Beer,” “Bad to the Bone,” and “Move It on Over.” Among the highlights are previously unreleased performances such as “Ride on Josephine” from 1978 and “One Bourbon, One Scotch, One Beer” recorded in 1980. The album also features a 1982 live version of “Bad to the Bone” recorded in Boston, along with more recent recordings like “Born to Be Bad” from 2024 and blues classics “Howlin’ for My Baby” and “Tail Dragger.”

“When the lights go down, the downbeat hits and the audience erupts; all bets are off. The Destroyers are at their best when we play for the people, and these are some of our favorite—and rarest—performances from the past five decades. You wanted the baddest, you got it,” said George Thorogood.

Formed in 1973 by Thorogood and drummer Jeff Simon, the band built its reputation through relentless touring and high-energy performances. Over the decades, they have played more than 8,000 shows, sold over 15 million albums worldwide, and toured alongside artists such as The Rolling Stones, ZZ Top, and Sammy Hagar. Their live shows have remained central to their identity, dating back to their record-setting “50 States in 50 Dates” tour in 1981.

The current lineup includes Jeff Simon, Bill Blough, Jim Suhler, and Buddy Leach. The band is currently on the road for The Baddest Show on Earth tour, with dates scheduled across North America and Europe throughout 2026.

The Baddest Show on Earth Tour Dates:

March 19 – River Cree Casino & Resort (Enoch, Canada)
March 20 – Grey Eagle Event Centre (South Calgary, Canada)
March 22 – Conexus Arts Centre (Regina, Canada)
March 24 – Burton Cummings Theatre (Winnipeg, Canada)
March 25 – Amsoil Arena (Duluth, MN)
March 27 – FireKeepers Casino (Battle Creek, MI)
March 28 – Brown County Music Center (Nashville, IN)
March 29 – Rialto Square Theatre (Joliet, IL)
March 31 – The Midland Theatre (Newark, OH)
April 2 – FirstOntario Concert Hall (Hamilton, Canada)
April 3 – Casino Rama Resort (Rama, Canada)
April 4 – Hard Rock Hotel & Casino Ottawa (Ottawa, Canada)

May 1 – The Capitol Theatre (Port Chester, NY)
May 2 – The Paramount (Huntington, NY)
May 3 – Penn’s Peak (Jim Thorpe, PA)
May 5 – Capital One Hall (Tysons, VA)
May 6 – The Carolina Opry (Myrtle Beach, SC)
May 7 – St. Augustine Amphitheatre (St. Augustine, FL)
May 9 – Wildflower! Arts & Music Festival (Key West, FL)
May 10 – Seminole Brighton Bay Hotel & Casino (Okeechobee, FL)
May 12 – Macon City Auditorium (Macon, GA)
May 13 – Pensacola Saenger Theatre (Pensacola, FL)
May 15 – Wildflower! Arts & Music Festival (Richardson, TX)
May 16 – Riverwind Casino (Norman, OK)
May 17 – The Astro (La Vista, NE)
May 19 – Vibrant Music Hall (Waukee, IA)
May 21 – The Colosseum at Caesars Windsor (Windsor, Canada)
May 22 – Rose Music Center at The Heights (Huber Heights, OH)
May 23 – Beaver Dam Amphitheater (Beaver Dam, KY)

June 20 – Holland International Blues Festival (Grolloo, Netherlands)
June 23 – Uber Eats Music Hall (Berlin, Germany)
June 26 – Bataclan (Paris, France)
June 29 – The Civic Hall (Wolverhampton, UK)
June 30 – Indigo at The O2 (London, UK)

July 4 – Puistoblues (Järvenpää, Finland)
July 10 – Lakefront Music Fest 2026 (Prior Lake, MN)

September 4 – Champlain Valley Fair (Essex Junction, VT)
September 25 – One805Live! 2026 (Montecito, CA)

The post George Thorogood to release “The Baddest Show on Earth: Greatest Hits Live” appeared first on Blues Rock Review.

Good Day Noir Family,
Today’s review steps slightly outside the usual format. Ellery Twining has joined forces with filmmaker Ben Bostian to create the soundtrack for a short film, and the result feels less like a background score and more like an emotional compass guiding the entire experience.

“Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now

The film itself follows two friends on a snowboarding trip up a quiet mountain.

There are few words. Instead, glances, movement, and landscape carry the narrative. It’s Twining’s music that transforms those simple gestures into something lasting. The compositions float gently beneath the images, adding dimension without overwhelming the visuals.

The tone of the score leans toward the experimental. There’s a suspended quality to the melodies, almost mirage-like, as if time has briefly slowed. The snowy scenery, sometimes blurred by mist, gains additional depth through these subtle harmonic textures. The viewer doesn’t just watch the day unfold. They feel it.

There’s a faint echo of Lynch in the way mood takes precedence over dialogue. The music never dictates emotion directly. It lingers. It invites interpretation. Twining understands restraint, allowing silence and space to carry equal weight alongside the notes.

The most striking aspect lies in how the score captures memory. These are the kinds of days that seem ordinary at first glance. Two friends, fresh air, snow underfoot. Yet, over time, such moments settle deeper into memory. The music underscores that transformation. It suggests that what feels small in the present can become monumental in retrospect.

Furthermore, the closing sequence—where the friends pause to watch the sunset—gains quiet significance. A simple sunset becomes symbolic. Twining’s understated arrangement elevates that stillness, sealing the day with reflection rather than spectacle.

This collaboration proves that music can complete visual storytelling without drawing attention to itself. Twining and Bostian create an experience that feels personal and universal at once.

“Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now!

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Reflective!

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“Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now

Ben Bostian and Ellery Twining connect through a shared experimental spirit, crossing paths via Savannah College of Art & Design and the music project Delta of Venus. What begins as a personal connection quickly evolves into a creative exchange shaped by coincidence and curiosity.

Their work centers on “indeterminate music,” building each track through improvisation over the last, capturing mood with minimal intervention.

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Find Ellery Twining Here:

Bandcamp
Instagram

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Discover New Bands Click Here

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The post “Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

A montage of studio footage from the band has newly been shared.

The post Chiodos Teasing Apparent New Studio Sessions appeared first on Theprp.com.

I suppose it’s only natural that a musician from Seattle would use a region’s coffee as a metaphor for the style of one of their albums. Sumatran coffee is generally considered to be bold and full-bodied, with notes of earthiness, spice and chocolate. That’s actually not too bad of a one-line review for Paula Boggs […]