This Friday, Allison Goldfarb of Geranium and Jackson MacIntosh of TOPS and Drugdealer release their debut album Paycheque. So far we’ve heard “Generic Actress” and “Temporary Love,” and today the LA duo is unveiling one last preview with “Heatwave.”
The post Paycheque – “Heatwave” appeared first on Stereogum.
For decades, Donnie Vie has remained one of rock’s most distinctive singer-songwriters, blending power pop melodies, classic rock influences, and deeply personal songwriting throughout his career with Enuff Z’Nuff and beyond. While his work has long earned praise from devoted fans and fellow musicians alike, many listeners feel his solo catalog deserves far wider recognition.
That conversation is once again front and center with the renewed spotlight on Beautiful Things, the acclaimed solo release that is getting a fresh push in 2026 through Wicked Cool Records. The reissue arrives at a time when Vie appears creatively energized, reflecting on his past while also looking ahead toward new music and collaborations.
In the following interview, Vie discusses the second life of Beautiful Things, reconnecting with Little Steven, the albums he remains most proud of, the legendary artists who shaped his musical outlook, and what fans can expect from the next chapter of his career.
~
Let’s discuss the album Beautiful Things. It was originally released in 2019 but is being re-released.
Well, it was originally available in 2019. It really didn’t have any push or anything like that. It just was “available” — you could come to my site and get it, and this little company, Deko, bless their hearts (originally put it out). This was like the best record I think that I’ve ever made, and if this lived and died that quickly, then I was pretty discouraged about making another one. And if I did get into business with anybody, than I want to still focus on this record, give it another shot. And so my prayers have been answered — we got Little Steven over there at Wicked Cool, and Sammy and Lou and Kurt and all those guys. They’re great, and we’ll see what happens.
How did Little Steven get involved with the project?
Frank Barsalona, he owned Premier Booking and was the first guy who brought the Beatles (to the US), his daughter, he would bring her out to the videos when we were shooting them. So, I got a hold of her, and she gave me Little Steven’s info. Because my chick, she’s very political, and she was telling me about some shit that she was looking at, where Little Steven was expressing his political views and stuff like that. And she was pretty impressed by that. And she was telling me about it, and I was like, “I know him!” Little Steven used to come out to the studio in the old days. We were in New York mixing, he’d come out, we’d hang out and talk about music and talk about actual musical and production things. Because I was into all different kinds of production, all different kinds of orchestration, all that stuff like that. That’s where I was heading, as evolving into that already, even right after the first record. If you hear “Strength,” it’s like a departure. It’s almost not the same band. Maybe he’ll co-produce my next record with me, who knows? But I just reached out to him, I said, “Hey man, how do I submit to your label?” I sent him a couple songs, he said, “Alright, you’re in.” So, just pointed me at the day to day guys, and those guys are real cool. So, the record will be out July 31st (2026). They released a single (the title track) and it did really well, I could tell by my SoundExchange checks, so it got some plays and stuff. And they’re like, “Just rest Donnie, just relax, because the record’s not out yet.” We have a record release show August 6th in New York at the Cutting Room, and that will be the big day for the Beautiful Things record.
Looking back on your time with Enuff Z’Nuff, which album are you most proud of, and why?
I have to say I’ve always been partial to the Dissonance record. Most of it — eight-tenths of it. I just really like that record. It went, as far as I’m concerned, harder rock. Obviously, people called the earlier records with Derek [Frigo] “metal,” and I don’t even consider that stuff…y’know, I’m not a metal guy. I was more of a punk rocker. “New Thing” was written as a punk rock song, and everything just kind of formulated into what it did, for the personnel involved. But like, this record, my latest record, that’s who I envisioned myself as an artist. That’s who I’ve always envisioned myself, that’s who I’ve always aspired to be as an artist. I’ve finally hit that. The new songs that I have…because if I make another record, this was my policy to try to top the last one. And to top that, it’s going to be a lot of work. It’s going to be a hell of a lot of work. But it seems like the basic feel for the new stuff is leaning more heavier again. I hope that doesn’t turn anybody off. I’ll never be metal or anything, but it seems like there’s some heavier attitude songs.
Since this site is called Vintage Rock, who are some of your favorite rock artists from yesteryear?
Well, number one, first and foremost, is the Beatles. That’s because they just covered everything. That’s what turned me on to music, was the Beatles. I had a little Close n’ Play record player…y’know, my childhood, let’s say it wasn’t a happy one. And so I needed something, and it clicked. As soon as I heard the first song, it’s like I had something. “This is for me. I have something that I like and interested in.” And I just kept listening and learning and subconsciously getting an education in how to write a well-constructed song, how to build harmonies, how to orchestrate, but apply orchestration to a song. Different things like that. You can get the full scope from them. They’ve even got songs that can be covered by metal artists, and any genre. But from there I think I went to Rush and Led Zeppelin. Queen was in there too, but Rush I got hooked on. The 2112 record blew me away, because I wouldn’t even really listen to anything else. I was so jaded. And that record opened up a huge bunch of doors for me, as far as learning how to actually play an instrument well, stuff like that. And in the way that they put things together. And then Led Zeppelin, of course, and Aerosmith, and lots of hits from the 70s. But Motown was a huge influence. I got hooked on that, probably by 10 years old. I was had all these Jackson Five and Stevie Wonder [records], and then hits of Motown and stuff like that, and I just love that. There’s a lot of soul and Motown in my singing. From there, then I started expanding a bit. And then Van Halen came along. I love Van Halen and Tom Petty. There’s just great artists, the classics. It’s like, everything else, it’s not like I don’t like it, it’s just that…I don’t really listen to music, truthfully. I don’t have a CD collection, none of that stuff. I have a streamer. I like to stream — TV and stuff like that. But I think you can pretty much hear the influences, just by listening to the body of work that I’ve done.
Future plans or projects?
Well, as I’ve learned, you never know what’s around the corner. Crazy, what could be around the corner, when you feel that, “This is this.” And then all of a sudden, it’s not, and it’s this or it’s that. I have hopes of maybe possibly getting Little Steven to come in to co-produce some songs for the other record. I’ve got an open invitation to their studio out there, which I think I’ll take advantage of. Y’know, make another record, and let’s see if this brings any new life or moves the needle a little bit. It was kind of rusted in place, and let’s see what happens. And if all goes at least OK, then the next record is onward and upward.
Fuck yes. This is exactly the kind of death metal I needed today!
Hell Trepanner come from Lima, Peru and apparently have no interest whatsoever in sounding modern. Good. The Consecration of Eternal Impurity is their debut full-length and it spends the entire runtime stomping through old-school death metal territory without a single apology.
The first thing that stood out to me was the guitar sound. It’s filthy. Not in that overproduced “let’s recreate Sweden in a studio” way, either. It just sounds nasty. Big riffs, ugly leads, loads of HM-2 buzz and enough groove to keep your neck busy for most of the album.
I kept coming back to tracks like “Profane Sacramentum” and “Rain of Impaled Skulls”. Not because they’re radically different from the rest of the record, but because they nail exactly what this band does best. Slow sections that feel like getting buried under concrete, then suddenly everything speeds up and starts throwing punches again.
One thing I appreciated is that the album never feels desperate. You know how some bands spend half the record trying to convince you how brutal they are? Hell Trepanner don’t seem interested in that. They just get on with it.
The production is rough enough to keep the atmosphere intact but clear enough that the riffs don’t turn into mush. That’s all I really need from a record like this.
No, they’re not reinventing death metal. They’ve probably got no interest in reinventing death metal. Honestly, I’d have been disappointed if they tried.
If you miss the days when death metal sounded dangerous, ugly and slightly unhinged, give this one a listen!
https://www.facebook.com/HellTrepannerDeath/
Nick Moon‘s Bonfire City is a gloriously chaotic collision of post punk attitude, garage rock energy, and offbeat artistry. Fueled by restless rhythms, wiry guitar work, and an unmistakable sense of controlled disorder, the track thrives on its ability to balance infectious grooves with a delightfully unpredictable edge. Beneath its surreal lyricism and eccentric sonic twists lies a surprisingly sharp emotional core, transforming paranoia, insecurity, and satire into something both compelling and strangely danceable. Bold, irreverent, and impossible to ignore, Bonfire City further cements Nick Moon’s talent for turning chaos into captivating musical expression.
Connect:
The Maze Volta.
The post The Mars Volta Launch Cryptic New Site With A Countdown Timer appeared first on Theprp.com.
David Lee Roth is alive, well, and running with the devil on his 2026 Don’t Love Me, Rent Me Worldwide Tour, a 27‑date run that kicked off April 16th in Airway Heights, WA, and will finish up on August 6th in Sturgis, SD. No opening band, just Diamond Dave, one of rock’s most iconic frontmen.
On June 5th, he and his 10‑piece band played the legendary Stone Pony Summer Stage in Asbury Park, NJ. It was an 18‑song, Dave‑era Van Halen’s show right in front of your steamy eyes. His band features Al Estrada on guitar, Sean McNabb on bass, Francis Valentino on drums, K.C. Knight on keys, and a five-man powerhouse quartet of backing vocalists that help bring Van Halen’s lush harmonies to life.
As the sun set behind the stage, Dave’s unmistakable voice rang out from backstage; it felt like the floor tilted, and for a moment, the crowd at Stone Pony held their breath. Dave suddenly appeared, to a flurry of musical accompaniment like a late-night TV show host. He didn’t say a word, just stood center stage grinning ear-to-ear, surveying the crowd, deciding whether to greet them or pounce on them. The audience erupted with a wave of cheers that rolled forward and hit the stage like the surf from Asbury Park’s beach. He then unleashed “Panama” and then “Drop Dead Legs.” Dave had the crowd locked in with the first two songs.
For 90 minutes, he moved constantly, but never in straight lines. He prowled the stage, walking back and forth to the drum riser, seemingly to watch his own show! Every gesture he made was grandiose, theatrical, entertaining, and completely magnetic. It was tied up with a bow due to Dave’s unpredictable charm, showmanship, and banter. Favorite one-liners from the night were when he told Sean to “Slap that bass as it owes you $50,” his unapologetic response to kids in the audience after saying a few choice curse words, “Smoke ‘em if you got ‘em, life is short,” and the first girl he ever wanted to sleep with was Betty Rubble of the Flintstones!
Dave has never chased vocal perfection live; the show is something far bigger for him and more enthralling. He chases entertainment – always has, always will. What comes out of the speakers is a mix of grit, charisma, and spontaneous lyric changes to fit the town or moment.
The band’s set navigated through the best of the best Van Halen songs; “Hot for Teacher,” with its controlled chaos, thar felt less like a rhythmic beat and more like a motorcycle engine revving, “Mean Street” with its hypnotic street‑corner swagger, “D.O.A” with its wild sense of recklessness and abandonment, and “Atomic Punk” which arrived mid-set like a voltage spike; sharp, abrasive, and instantly disorienting.
Al was a monster on his Charvel guitar, effortlessly nailing all of Eddie Van Halen’s parts and emulating his tone perfectly for each era of Eddie’s career. His playing had that rare mix of precision, technique, and spontaneity; every riff felt alive and renewed. Sean, a new addition to the band for the tour, delivered the songs’ primal rhythm. Every note he played pulsed with purpose, sometimes a seismic wave, other times a subtle undercurrent. All the songs had super‑tight grooves, making them feel impulsive and slightly dangerous.
The 71‑year‑old atomic punk danced the night away in Asbury Park, and midway through the set he dialed back the mayhem for a stripped‑down “Ice Cream Man.” With an acoustic guitar in hand, he introduced the song with a touching memory from the early days of writing with Eddie Van Halen. He shared that the two would sit knee‑to‑knee in Eddie’s tiny bedroom in the late ’70s and then, four decades later, while working on songs for the Best Of album at Eddie’s massive 5150 studio, Eddie pulled up a chair and sat the exact same way, knees touching, just like when they were kids. The moment hit the Jersey crowd with real emotional weight.
The night was a celebration of his legacy with Van Halen, a reminder of how deeply these songs still resonate with fans some 40-odd years later, and a testament to his ability to defy age and expectation. He is living his best dream and delivering it to the fans like there’s no tomorrow!
Only a few shows are remaining on this tour. Get your tickets here.
The post CONCERT REVIEW: DAVID LEE ROTH Turns The Stone Pony Summer Stage Into A VAN HALEN Victory Lap appeared first on Sonic Perspectives.
Plus Combust, XCOMM and more.
The post August Burns Red, Bad Brains, Black Flag, Varials, Narrow Head, Etc. Added To ‘Skate.’ Video Game Soundtrack appeared first on Theprp.com.
The carefully guarded psychological walls behind one of the most successful elite vocalists in modern metalcore history have officially been dismantled. Fresh off the blockbuster global drop of their monumental eleventh studio album, Season of Surrender, August Burns Red frontman Jake Luhrs has stepped directly into the studio for an exclusive, deeply intimate appearance on the Loaded Radio Podcast.In a conversation that shifts rapidly from triumphant musical milestone to harrowing human survival, Luhrs exposes the terrifying depths of his battle with clinical depression, the brutal self-examination that reshaped his entire life, and the extreme physical adjustments required to morph his voice to accommodate the absolute heaviest music the band has written in over a decade.
Want to hear the raw, unedited master tape of this historic conversation? Stream the full, exclusive episode of the Loaded Radio Podcast featuring Jake Luhrs directly through the embedded audio player above, or download the free Loaded Radio App across all mobile formats to listen on demand 24/7.
When Lancaster, Pennsylvania’s multi-Grammy-nominated metalcore kings officially unleashed Season of Surrender via Fearless Records on Friday, June 5, 2026, the global metal community immediately recognized a stark sonic evolution. The record—packed with punishing, technical features alongside peers from The Devil Wears Prada, Polaris, and Make Them Suffer—deliberately bypasses fleeting internet trends to deliver an unfiltered display of structural aggression.
Speaking to Loaded Radio host Scott Penfold, Luhrs explaines that the record’s title isn’t an admission of defeat; rather, it represents the terrifying act of psychological surrender required to heal.
As the founder of the globally celebrated mental health nonprofit HeartSupport, Luhrs has spent over a decade helping fans navigate their darkest hours. Yet, the vocalist admits that when tracking sessions for the new album commenced alongside rhythm guitarist Brent Rambler and vocal engineer Grant McFarland, he found himself trapped inside his own paralyzing battle with severe depression and acute self-hatred.
By shifting his internal pain into raw, external vocal tracks, Luhrs managed to transmute debilitating emotional isolation into heavy proactive therapy. The resulting musical pieces explicitly dissect structural topics that heavy music often glosses over, including deep-seated betrayal, narcissism, grief, and the exhausting reality of living with chronic depression.
Because the instrumentation crafted by guitarists JB Brubaker, Brent Rambler, bassist Dustin Davidson, and technical drumming icon Matt Greiner leaned so heavily into punishing, old-school thrash patterns and mid-2000s metalcore breakdowns, Luhrs was forced to rethink his entire physical approach behind the studio microphone.
To match the sonic density of standout tracks like “The Nameless” and “Behemoth,” Jake had to structurally re-engineer his vocal placement, pushing his clean-to-harsh vocal delivery into a much wider, throat-shredding emotional register to maintain absolute sonic dominance over the crushing instrumentation.
Beyond the immediate psychological landscape of the new studio record, Luhrs also utilized his exclusive appearance on Loaded Radio to directly update the fan base on the group’s highly anticipated annual holiday celebration. For years, the band’s massive, hometown Christmas show in Lancaster, Pennsylvania has functioned as a legendary, high-decibel rite of passage for metalheads traveling from all corners of the globe.
Jake confirmed that planning for the 2026 production is already moving forward at full throttle, promising that the setlists will uniquely blend the timeless, festive shredding of their classic holiday tracking alongside the bludgeoning live debuts of the Season of Surrender material.
The band’s tenth full-length studio album is titled Season of Surrender, which was officially released globally on June 5, 2026, via Fearless Records.
Jake Luhrs is the founder of HeartSupport, a globally recognized, non-profit digital community dedicated to providing mental health accountability, encouragement, and resources for the heavy music scene.
The album features high-profile guest vocal spots from Mike Hranica (The Devil Wears Prada) on “Legions,” Jamie Hails (Polaris) on “Sonic Salvation,” and the vocal team of Make Them Suffer on the track “Cerebral Malfunction.”
Formed in Lancaster, Pennsylvania in March 2003 while the members were still attending high school, August Burns Red spent over two decades completely reshaping the boundaries of technical metalcore. Bursting into the mainstream with 2007’s genre-defining masterpiece Messengers and solidified by 2009’s monumental Constellations, the band established an iron-clad reputation for shifting time signatures, complex progressive guitar lines, and absolute sonic consistency.
Earning consecutive Grammy Award nominations in 2016 for “Identity” and 2018 for “Invisible Enemy,” the group has bypassed fleeting commercial trends, retaining the exact same core line-up for nearly twenty years. Their current 2026 era marks a band that has completely mastered their sonic footprint while choosing absolute emotional transparency over commercial compromises.
Now that Jake Luhrs has laid his entire soul bare regarding the dark realities that birthed this new record, the floor belongs to the Loaded Radio family. Does Season of Surrender rank as the absolute heaviest piece of art the band has dropped since the Messengers era, or are you still processing the emotional weight of Jake’s lyrics? Let us know your thoughts and podcast reviews in the comments section below!
Never miss an exclusive podcast drop, a breaking album leak, or an official headlining tour routing announcement. Download the free Loaded Radio App for [iOS App Store] and [Google Play Store] today to command our live 24/7 high-decibel audio broadcast and listen to the daily show on demand.
The post August Burns Red Frontman Jake Luhrs Reveals Overcoming Brutal Depression, Altering His Voice for Heaviest Album Ever, and More on The Loaded Radio Podcast appeared first on Loaded Radio.