Guns N’ Roses will head down under following dates in Latin America, the US and Europe

Metallica add February 2027 dates to their Sphere residency, bringing the total to 20 shows as Ticketmaster addresses a “targeted attack.”

The post METALLICA Adds More Shows To Their Sphere Residency, Now Up To 20 appeared first on Metal Injection.

South Philadelphia put Bobby Rydell in front of an audience early, and he learned fast how to win a room. Raised in the Lower Moyamensing neighborhood, he started out as a kid who mimicked singers he saw on television. When he was seven, his father took him around Philadelphia clubs to ask if he could sing and do impersonations. By eight, that reputation carried him to the national television talent show TV Teen Club, where he won a contest and was recruited by bandleader Paul Whiteman, a run that lasted for several years and also gave him the stage name

The post Top 10 Bobby Rydell Songs appeared first on ClassicRockHistory.com.

The Amity Affliction continues to tease the arrival of their much-anticipated new studio record, House Of Cards, with the reveal of a blistering new single, “Bleed”.

Released as the band continues their extensive tour of regional Australia, the latest from The Amity Affliction lands with impact: A ferocious stride forward for the group into a brand new era of artistry.

Where previous single House Of Cards was an emotionally weighted insight into the relationship songwriter Joel Birch and his siblings shared with their mother, “Bleed” has manifested itself into an avenue for Birch to look at public perceptions and personas, versus the reality he exists in every day.

As he explains: “This song is a bit of a ‘fuck you’ to people online who leave comments like they know me personally, or know anything about what’s happening in my life, and a bit of a reminder to myself that I am not beholden to that idea, and I am the person I know myself to be. ‘I bleed the way I bleed…’ is my way of saying that I am the way I am not the way I am perceived to be by people who don’t actually know me and have formed or projected an idea of me onto me by way of social media.”

The release of “Bleed” further positions the House Of Cards era as one of the most exciting and defining for The Amity Affliction — a band that has been driven by the desire to navigate new creative territory, music that empowers both them as a unit as well as their community of fans who have been with them throughout all their previous chapters.

House Of Cards, the first full-length record to feature clean vocalist Jonny Reeves, is a moment of reinvention — and it is one the band is set to unleash in its full glory across a jam packed year of international touring to come.

The post THE AMITY AFFLICTION Releases New Single “Bleed” From Forthcoming Album “House Of Cards” appeared first on Sonic Perspectives.

Words and photos by: JD Punisher Special thank you to Live Nation The turn of the century saw many things, worldwide panic due to the Y2K bullshit, Spongebob premiered, we got a new Star Wars movie, Michael Jordan retired from the NBA a second time and the world sat and watched the President of the […]

Podré jugar tu juego
Podrás confiar
Ellos saldrán de su guarida
Pierdes tu calma

After ten years away, BOCANEGRA return triumphantly with a new video for Charlemagne, a track that shoves its way into the room with real purpose. Carlos Bocanegra sets sensual vocals against a brutal mechanical drive, and the tension between those forces gives the song its charge. It feels feverish, cornered, and fully aware of the polite illusions people build to keep power intact.

Charlemagne‘s bite comes from the way it wraps seduction around dread. The song stares straight at manipulation, at the soft smile that conceals the knife, at the fantasy fed to the vulnerable until they begin to suffocate inside it. You can hear a mind waking up in real time, tracing the outline of the trap, clocking the machinery, recognizing how hope gets dressed up, paraded around, and then strangled in the back room. That realization gives the track its emotional voltage. This is not abstract doom for the sake of atmosphere. This is social poison with a pulse.

Because Bocanegra is sung in Spanish, the track adds another layer of tension and urgency that hits the gut before the brain catches up. The words carry the claustrophobia of immigrant life in a country that sells fantasy while grinding people down under it. Charlemagne catches that feeling of being cornered by a system that smiles while it starves you, then turns the pressure into motion. The song understands the dance floor as a site of release, maybe even conspiracy, a place where the body remembers something the obedient mind nearly forgot.

The old touchstones are there if you want them: Nine Inch Nails, Skinny Puppy, Front Line Assembly – even a little INXS’s Michael Hutchence peeks through, but BOCANEGRA are not playing museum curator with industrial relics. They sound like people with history in their blood and current in their nerves, people who know the old machines because they have lived beside them and still found a new way to make them spit sparks. Martin Atkins’ orbit makes sense here; Bocanegra has that same instinct for collision, for beauty under duress, for rhythm as threat and invitation at once.

There is also something downright exhilarating in the song’s turn toward uprising. Beneath all the suffocation and psychic rot, Charlemagne keeps one eye on the people still hidden away, waiting for the right second to step forward and wreck the calm of their oppressors. That tension gives the track its real charge. BOCANEGRA have returned with a song that feels dangerous in the proper sense: alive, alert, and ready to kick a hole in the painted wall.

Watch Charlemagne below:

BOCANEGRA will be playing with Die Krupps and Ghost Bells in March.

Listen to Charlemagne below and order the single here.

Follow BOCANEGRA:

• Instagram
• Facebook
• Bandcamp
• YouTube
• Spotify

The post “You Wound My Soul” — Bocanegra Returns With Video for Industrial-wave Single “Charlemagne” appeared first on Post-Punk.com.

German guitar wizard Axel Rudi Pell released “Guillotine Walk,” a new digital single and lyric video today. The song is taken from the upcoming studio album Ghost Town.

Axel Rudi Pell says: “The walk to the scaffold! The last thoughts of a condemned man… musically melancholic yet driving and full of power! A great opener for the album and one of my favorite songs!”

Ghost Town will be released on March 20 through Steamhammer worldwide in the following configurations:

• CD DigiPak incl. poster
• CD Jewel case
• 2LP Gatefold, 140 g, black vinyl, padded inner sleeves, colored insert
• Exclusive CD/2LP Bundles with a shirt and exclusive vinyl only at the Steamhammer shop
• 2LP Gatefold exclusive colored edition only at the Napalm shop
• 2LP Gatefold exclusive colored edition only at the EMP shop
• Download + Streaming

The album is available to pre-order here.

The post AXEL RUDI PELL Shares New Single & Lyric Video “Guillotine Walk” From The Upcoming Album “Ghost Town” appeared first on Sonic Perspectives.

Nick Prosper comes out of New York like a guy who’s spent years riding different trains at once, switching cars mid-tunnel just to see what kind of noise the wheels make on the next stretch of track. He tells you straight where the fuse was lit: “Nick Prosper officially started in 2015, but I was releasing random beats on Soundcloud for a few years before that.” That’s the résumé line, sure, but it also reads like a survival note taped to the inside of a locker: proof of life, proof of work…proof that the algorithm didn’t raise him.

The geography matters because he wears it like a second skin. Brooklyn brashness, Staten Island sideways glare, the whole city’s nervous system threaded through a set of headphones. Then there’s the prehistory, the part that explains his appetite. “Before this, I was heavily involved in the deathcore/hardcore community, and was the frontman of a band called Plan To Prosper…I grew up listening to so many different genres, which is probably why I try so many different sounds in my music, growing up my mother played a lot of 70s and 80s music, my older sister was always blasting rap music in her room, and any time I’d go to my aunt’s house my cousin would show me indie rock from the early 2000s. That combination made me obsessed with wanting to be an artist one day.” Family, decades, rooms, speakers, bloodline – all turned the kid into a collector of impulses.

OUTMYBODY starts as a street-level instinct, chosen on foot, the way real decisions get made when you’re walking on a day that keeps sassing back. The track feels like that gut feeling given muscle: anxious motion with a hook that won’t sit still, a mind trying to outrun its own chatter without pretending the chatter isn’t there. He doesn’t polish the moment, but he hands you the raw admission.

“When I record, I usually don’t write any lyrics down, and that day I was dealing with a lot of anxiety about the future, so the first words that came out when I plugged in the microphone were I’m jumping out my body, and it just felt fitting to the jittery anxiousness I was going through,” he admits. “After it was finished and I listened back, I realized the song is about escaping – sometimes we just want to get away from ourselves, sometimes we just want the chatter in our brain to quiet down for a moment.”

Even the gear story reads like city folklore: five bucks, thrift-store fate, an old Yamaha from the ’80s dragged into the studio like a lucky charm with dents. Then the video, co-directed by Prosper, Bryce Wallace and Arias: bathroom mirror, confrontation, fashion in a dingy building, influences bleeding through in bright bruises.

“I feel since we all have an interest in film and high fashion, I can see so many influences bleeding through. Especially with Bryce’s edit, its gives 90s cult classic  – the lighting in the bathroom reminds me of The Crow; the trippy editing reminds me of Requiem For A Dream, and the way I was dressed felt very Tyler Durden in Fight Club.” That’s the whole point: a mixtape brain, a restless body, a spirit trying to stay “authentic, and spiritually abundant,” even while it’s arguing with the mirror.

Watch OUTMYBODY below:

Follow NICK PROSPER:

• Instagram
• Spotify
• SoundCloud
• Apple Music

The post NYC’s Nick Prosper Stares Down His Reflection in Video for Angst-driven Post-Punk Single “OUTMYBODY” appeared first on Post-Punk.com.

Gitarrenmagie auf der Großen Freiheit

Wenn zwei Gitarristen mit Weltkarrieren gemeinsam auf Tour gehen, ist die Erwartung hoch. Am 5. März brachte das Duo Smith/Kotzen seine aktuelle Tour ins Hamburger Grünspan auf der Großen Freiheit. Anfang 2000 hatte ich Adria zuletzt ohne Maiden gesehen. Heute, gute 25 Jahre später freute ich mich auf einen Abend, der vor allem eines zeigte: zwei Musiker, die ihre Liebe zum klassischen Rock mit virtuosem Gitarrenspiel und spürbarer Spielfreude zelebrieren. Unfassbar, wie gut diese beiden Legenden harmonierten.

    

Hier standen keine distanzierten Stadionstars auf der Bühne, sondern Musiker zum Greifen nah. Die Ticketpreise lagen im Vorfeld bei rund 66 Euro. Für einen Abend mit zwei Gitarrenikonen und einer hochklassigen Band ein absolut fairer Preis.

Iron-Maiden-Legende mit Gefühl für Melodien

Adrian Smith gehört seit Jahrzehnten zu den prägenden Gitarristen des Heavy Metal. Als Mitglied von Iron Maiden schrieb er Klassiker wie „Wasted Years“, „2 Minutes to Midnight“ oder „Flight of Icarus“. Smith steht für melodische Gitarrenlinien, klare Harmonien und ein Songwriting, das stets im Dienst des Songs steht.

Seine Karriere begann Ende der 1970er Jahre in der New Wave of British Heavy Metal. Mit Iron Maiden wurde er Teil einer der erfolgreichsten Metalbands der Welt. Nebenbei veröffentlichte er immer wieder Soloprojekte, etwa Adrian Smith and Project oder später Primal Rock Rebellion.

Bei Smith/Kotzen zeigt Smith eine andere Seite seines musikalischen Spektrums. Blues, Classic Rock und Soul fließen deutlich stärker in den Sound ein. Live wirkt er konzentriert, präzise und souverän. Seine Soli kommen nicht als technisches Feuerwerk daher, sondern als melodische Geschichten.

Virtuose mit Blues- und Soulstimme

Der zweite Kopf des Projekts bringt eine ebenso beeindruckende Karriere mit. Richie Kotzen machte sich Anfang der 1990er Jahre zunächst als Gitarrist von Poison einen Namen. Später spielte er bei Mr. Big und baute parallel eine erfolgreiche Solokarriere auf.

Kotzen ist nicht nur ein herausragender Gitarrist, sondern auch ein außergewöhnlicher Sänger. Seine Stimme bewegt sich irgendwo zwischen Blues, Hard Rock und Soul und gibt den Songs von Smith/Kotzen eine ganz eigene Farbe.

Auf der Bühne im Grünspan wird schnell klar, dass Kotzen ein Musiker ist, der Technik und Gefühl perfekt verbindet. Seine Gitarrenläufe sind schnell und präzise, gleichzeitig bleibt alles musikalisch. Gerade in den bluesigen Passagen zeigt er seine ganze Klasse.

Eine Rhythmussektion mit Druck

Live sind Smith und Kotzen nicht allein unterwegs. Die Rhythmussektion trägt entscheidend zum Sound der Show bei.

Am Bass steht Julia Lage, eine Musikerin mit starkem Groove und souveräner Bühnenpräsenz. Sie sorgt dafür, dass die Songs nicht nur technisch funktionieren, sondern auch Druck entwickeln.

Am Schlagzeug sitzt Bruno Valverde, vielen Metal-Fans als Drummer der brasilianischen Band Angra bekannt. Sein Spiel ist kraftvoll, dynamisch und stets songorientiert. Gerade in den härteren Songs treibt er die Band spürbar nach vorne.

Gemeinsam wirkt das Quartett erstaunlich eingespielt. Die Songs leben vom Wechselspiel der beiden Gitarristen, während Bass und Drums das stabile Fundament liefern.

Clubatmosphäre mit viel Nähe zur Band

Das Grünspan gehört seit Jahrzehnten zu den wichtigsten Rockclubs Hamburgs. Rund 800 Besucher passen in den Saal, und an diesem Abend war der Club entsprechend gut gefüllt.

Viele Gitarrenfans standen direkt vor der Bühne und beobachteten jedes Solo. Die Stimmung war von Anfang an intensiv. Das Publikum reagierte auf jede musikalische Wendung und feierte besonders die längeren Gitarrenpassagen.

Der Sound im Club war druckvoll und klar. Gitarren, Bass und Schlagzeug kamen sauber getrennt aus der Anlage, ohne dass der typische Clubcharakter verloren ging. Genau diese Nähe zwischen Band und Publikum machte den Abend besonders.

Die Setlist des Abends

Der Abend konzentrierte sich stark auf das aktuelle Album „Black Light / White Noise“, das in Großbritannien sogar Platz 1 der Rock- und Metal-Charts erreichte. Gleichzeitig fanden auch Songs des Debüts ihren Weg ins Set.

• Life Unchained
• Black Light
• Wraith
• Glory Road
• Hate and Love
• Blindsided
• Taking My Chances
• Outlaw
• Darkside
• Got a Hold on Me
• White Noise
• Scars
• Running
• Solar Fire

Encore

• You Can’t Save Me
• Wasted Years

Besonders der letzte Song sorgte für Begeisterung. Mit „Wasted Years“ gab es einen kleinen Gruß aus der Iron-Maiden-Geschichte von Adrian Smith. Das Publikum im Grünspan sang den Refrain lautstark mit.

Gitarren, Groove und echtes Rockgefühl

Was dieses Konzert besonders machte, war die Balance. Smith und Kotzen sind beide herausragende Gitarristen, aber keiner versucht den anderen zu übertrumpfen. Stattdessen entsteht ein musikalischer Dialog.

Mal übernimmt Smith das Solo, während Kotzen den Groove hält. Im nächsten Song tauschen sie die Rollen. Dazu kommen zweistimmige Gesänge, die überraschend gut harmonieren.

Gerade Songs wie „Black Light“, „Outlaw“ oder „Solar Fire“ funktionieren live hervorragend. Sie verbinden modernen Hard Rock mit klassischen Einflüssen aus Blues und Soul.

Ein Clubkonzert mit Starfaktor

Der Abend im Grünspan zeigte, warum dieses Projekt für viele Rockfans so reizvoll ist. Zwei Musiker mit jahrzehntelanger Erfahrung stehen gemeinsam auf der Bühne, spielen Songs ohne große Showeffekte und konzentrieren sich auf das Wesentliche: Musik.

Für die Fans im Hamburger Club war das genau der richtige Ansatz. Gitarren, Groove, starke Songs und ein Publikum, das jeden Ton feiert.

Ein Konzert, das zeigte, wie gut klassischer Rock im Clubformat funktioniert – und warum Smith/Kotzen inzwischen zu den spannendsten Kooperationen im modernen Rock gehören.

Danke für´s Lesen. PUNKT!

Der Beitrag Smith & Kotzen – Blues, Gitarren-Legenden und Maiden-Feeling an einem Abend erschien zuerst auf Rock-Music.net – Live, laut, legendär!.

Pennsylvania metal outfit The Last Ten Seconds Of Life are pleased to unleash their video for their latest single, "Make It To Heaven," featuring David Simonich of Signs Of The Swarm. The track comes by way of the band’s forthcoming new full-length, "The Dead Ones," set for release on April 17th via Metal Blade Records. You can check it out below. … Read More/Discuss on Metal Underground.com