This past weekend, The White Stripes were officially inducted into the Rock & Roll Hall of Fame, and frontman Jack White used his moment at the podium to deliver more than just a thank-you speech — he gave a rallying cry for the next generation of musicians.

After reflecting on the mysterious magic that makes certain songs and bands connect deeply with listeners, White turned his attention to today’s young artists and delivered a message that hit harder than a fuzzed-out guitar riff:

“And so, to the young artists, I want to say, get your hands dirty and drop the screens and get out in your garage or your little room and get obsessed. Get obsessed with something. You know, get passionate. We all want to share in what you might create.”

In an era where algorithms dictate taste and creativity often filters through a phone screen, White’s words felt like a much-needed wake-up call. The rock icon — who built his career on analog grit, raw emotion, and DIY spirit — reminded everyone that true artistry isn’t found in perfect lighting or trending sounds. It’s born in the grind: the garage, the basement, the late nights where obsession fuels innovation.

White’s speech echoed the same ethos that powered The White Stripes — a minimalist setup, maximum emotion, and an unfiltered connection between artist and audience. His challenge to young musicians wasn’t nostalgia for a pre-digital age, but a reminder that music at its core is human, physical, and imperfectly real.

So, whether it’s picking up a guitar, hammering out riffs on a drum kit, or writing lyrics that mean something — Jack White’s message is clear: step away from the screen, make some noise, and get your hands dirty. The next great rock revolution won’t start on TikTok — it’ll start in someone’s garage.

Alissa Feudo delivers pure emotion and nostalgia on her stunning new pop-rock single “What’s Left is Now”. The song blends heartfelt lyricism with the warm, cinematic glow of 90s rock to take you back to a time when songs were built on raw emotion and fearless vulnerability. Alissa’s powerful vocals lead the way, carrying both strength and sensitivity as she reflects on change, loss, and finding clarity in what remains. The production perfectly balances lush guitar tones, driving percussion, and a soaring chorus that feels timeless yet refreshingly modern to make it all complete.

This fresh release runs wild in its authenticity to it easy for listeners to connect on a deeply personal level. Alissa Feudo shines as a storyteller and vocalist to make her mark and make a fan out of anyone who listens.

Check out Alissa Feudo “What’s Left is Now” below and follow them on Instagram. Stay Global my Friends!

The post Alissa Feudo – What’s Left is Now appeared first on .

Good Day Noir Family,
Highroad No. 28 return with “Ache,” a track that shows how easily the band can merge grit, nostalgia, and atmosphere into something strikingly personal.

Ache is Highroad No. 28’s Single Out Now

The song opens with a hypnotic groove that circles around you like a slow pulse. Soon after, airy pads drift in, adding a clear nod to the ’80s and to the icy tension of classic Carpenter scores.

Because of this mix, the track builds an environment that feels suspended between neon-lit retro memories and a more modern, emotionally charged intensity.

When the vocal enters, everything tightens. The reverb gives it a distant, ghostlike shimmer, yet the delivery stays steady and warm. It’s an interesting contrast: the voice sits between intimacy and detachment, and that duality shapes the entire mood. Moreover, the tone carries hints of those darker pop influences—somewhere between the introspective edge of Depeche Mode and the theatrical spirit of Bowie—yet Highroad No. 28 transform those inspirations into something very much their own.

The guitars bring another crucial layer. Distorted but never overwhelming, they throb gently underneath the production, adding body and direction without taking the spotlight. Their presence gives the track a sense of motion, as if you’re traveling through an endless highway at night with only city glow and passing memories to guide you. It’s this combination of rhythmic drive and dreamlike texture that makes the track so addictive.

As the chorus expands, the song gains emotional weight without relying on excess. The band’s restraint becomes a strength, because “Ache” grows through atmosphere, not volume. Each element is placed with intention: bass lines that anchor, pads that create tension, and guitars that carve out a subtle sense of drama. You feel drawn into a reflective inner world where unresolved thoughts echo and stretch.

By the end, the track has painted a portrait of restlessness, longing, and quiet resilience. It’s the kind of song that makes you want to get in the car, disappear for a while, and let the road decide where you end up. Highroad No. 28 deliver a piece that balances darkness with beauty, nostalgia with edge, and introspection with raw motion.

Ache is Highroad No. 28’s Single Out Now!

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Intense!

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Highroad No. 28 is an Australian heavy rock band formed in 1998. Their early EPs and debut album, Unsteady and Steady State (2005), established a sound marked by emotional intensity, melodic experimentation, and a defiant edge. After extensive touring, the band released Stumbling to Divinity in 2008, blending heavy rhythms with ambient and electronic elements.

Following a long hiatus from 2012 to 2024—broken only by occasional demos and reworked tracks—Highroad No. 28 returns in 2025 with renewed focus. They are preparing for their first live shows in over a decade and finishing their third album, The Will to Endure, set for release in December 2025. The new single “Ache,” signals their powerful comeback.

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Find Highroad No. 28 Here:

Spotify
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The post Ache is Highroad No. 28’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Should horror scare you or turn you on? That was the question I had after a weekend of watching both Frankenstein and the new series Welcome to Derry. After crawling through endless social media posts where people fawned over the new design of the monster, I decided to at least give the new Frankenstein movie a chance. Not only was I bored throughout its entirety, but I wondered if its rave reviews were based on the fact that it featured a monster who was more Paris runway model than hideously horrific creature. Either way, the film left me terribly deflated and eager for something to fill that void. Thankfully, the show Welcome to Derry has done a successful job at keeping the horror alive, along with my attention span.

Where Frankenstein failed to find any frights, the Derry show kept me on the edge of my couch in certain moments, wincing at the screen at such disgusting displays of beautiful brutality. Frankenstein tried to weave several threads into its story that didn’t make sense to me. The female character bounces from Dr. Frankenstein’s brother to Dr. Frankenstein himself and then suddenly shifts her love interest to a creature she met for all of five minutes. This rapid change of devotion left me feeling hollow and unsympathetic toward her character, something that most likely shaped how I viewed the rest of the story.

Welcome to Derry, on the other hand, has done a brilliant job of not only weaving in several Stephen King easter eggs, but it’s played out almost like reading a King novel. The pacing is steady and building toward something, all while keeping you tense and eager to see what’s around the corner, despite how creepy or disturbing it may be. The show subverts expectations and creates characters that linger in your mind after you watch, at least for me anyway. I understand art is totally subjective, but that’s the whole purpose of this article: to share my perspective toward two giants of the genre who are sharing the spotlight.

My own personal disdain aside, I am glad to see Frankenstein is doing well, and people are praising director Guillermo del Toro for his passionate efforts on a film he’s been wanting to make for ages. The man has been a blessing for the horror community, and his work will live on as some of the greatest the genre has ever seen. On the other side of the coin, you have a director in Andy Muschietti who has seemingly found his footing in these Stephen King stories. While IT: Chapter 2 didn’t perform as well as the first entry, it’s clear from this new series that he has his finger on the racing pulse of not just King’s work, but his fans’ yearning to dive headfirst into the vast universe King created over the years.

If I were to recommend either entry, I would start with Welcome to Derry if you are interested in long format storytelling with gruesome surprises around every corner. If you are someone with a taste for more theatrics, almost that of a stage performance, I would easily recommend Frankenstein. The acting is over the top, and the story embraces that intense portrayal of theatricality, which at times for me was cringe worthy, but the reviews don’t lie, and plenty of people are praising it for reasons well beyond my own understanding.

Whichever you choose to watch, I feel as if they are both great examples of how the horror genre is still as strong as ever. It wasn’t long ago when the thought of mentioning a horror movie for Best Picture at the Oscars was as uncommon as Dracula eating at the Olive Garden, but here we are. We live in a time when horror is not only abundant, but truly capable of going toe to toe with even the snootiest of dramas. As a lifelong fan of horror movies, that makes me as happy as Pennywise with a sewer full of souls.

The post Sexy Monster or Scary Sewer Clown? appeared first on Autumns Eyes.

– November 10th, 2025 –

Metal Blade Records has teamed up with renowned artist Vince Locke to create designs for exclusive merchandise that the legendary label will sell for Erik Rutan – guitarist in Cannibal Corpse and famed Producer at MANA RECORDING Studios – who suffered severe damage by Hurricane Helene in 2024.

The below items are Erik Rutan approved and available for fans HERE, with all money collected going directly to Erik to help him replace studio and musical gear for a new Mana Recording Studios– gear that Erik has used to produce a massive list of metal albums over the last two plus decades at Mana Recording.

• Erik Rutan – MANA RECORDING Studios Snap Back Hat
• Erik Rutan – Vince Locke (Signed Print) 11×17
Limited edition 60 signed prints, Vince Locke created and gifted this image, signed by both Vince and Erik
• Erik Rutan – MANA RECORDING Studios T-Shirt
• Erik Rutan – Vince Locke Original Design T-Shirt
Vince Locke created and gifted this image

https://www.metalblade.com/erikrutan
https://www.manarecording.com

ABOUT ERIK RUTAN – PRODUCER | GUITARIST | VISIONARY:
Erik Rutan is one of extreme metal’s most respected and multi-dimensional forces-renowned not only for his blistering guitar work and songwriting in legendary bands Hate Eternal, Morbid Angel, and Cannibal Corpse, but also as a prolific producer and founder of Mana Recording Studios, where he’s helped shape the sound of death metal for decades.

Rutan began his career in the late ’80s with Ripping Corpse, appearing on their influential Dreaming with the Dead (1991), then playing as a touring guitarist with Morbid Angel for Covenant (1993). Rutan then joined permanently to record the classic albums Domination (1995), Entangled In Chaos (1996), and Gateways To Annihilation (2000). In 1997, he formed Hate Eternal, taking on guitar, vocals, and full creative control. In 2002, Rutan left Morbid Angel to focus on Hate Eternal and Mana Recording Studios. The band’s discography-Conquering the Throne, King of All Kings, I, Monarch, The Perilous Fight, Fury & Flames, Phoenix Amongst the Ashes, Infernus, and Upon Desolate Sands-has cemented Rutan‘s reputation as a technical innovator and one of death metal’s most uncompromising architects.

Equally revered behind the console, Rutan opened his recording studio in 1999 and founded Mana Recording Studios in St. Petersburg, FL. The studio has since become a premiere destination for extreme music, hosting sessions for a who’s who of death metal as well as other styles of music. His production, engineering and mixing credits include a staggering list of landmark albums: Cannibal Corpse (Kill, Evisceration Plague, Torture, Red Before Black, Violence Unimagined, Chaos Horrific), Goatwhore (A Haunting Curse, Carving Out the Eyes of God, Blood for the Master, Constricting Rage of the Merciless), Krisiun (Conquerors of Armageddon, Forged In Fury), Soilent Green (Confrontation, Inevitable Collapse in the Presence of Conviction), Madball (Empire, Rebellion), Into The Moat (The Design, The Campaign) Tombs (Savage Gold, The Grand Annihilation) Agnostic Front, The Mountain Goats, Vital Remains, Belphegor, Through the Eyes of the Dead, Rivers of Nihil, Ether Coven, Aeon, Ephel Duath, Nile, Black Fast, Lizzy Borden as well as the entire Hate Eternal catalog among many others.

Known for his precision and intensity in the studio, Rutan is a demanding producer with an ear for both brutality and nuance. “I work musicians very hard, because I want them to exceed their own expectations,” he said in an interview with Mix Magazine. “I believe we all need to be pushed to achieve our greatest moments, whether internally or by an outside source,” he says. “I think most people don’t even realize their own potential, and when pushed in a positive and reassuring and reaffirming fashion, you can capture absolute brilliance.” Rutan continued… “I really believe in trying to maintain and preserve the integrity of the performances at that moment in time.” Krisiun drummer Max Kolesne enthused, “Erik… was able to get the best out of each one of us… he did a really great job“. His sonic approach balances organic energy with razor-sharp clarity, making his productions and mixes both punishing and refined. Goatwhore Vocalist Sammy Duet and bassist Ben Falgoust noted: “He makes us work really, really, really hard. Erik just knows how to capture our sound, he becomes a fifth member of the band“.

In 2019, after years of collaboration, Rutan started to tour with Cannibal Corpse as touring guitarist and then in 2021 joined as a full-time guitarist, making his recording debut as a member with Violence Unimagined and also Chaos Horrific. He contributed rhythm and lead guitar as well as songwriting on 3 tracks for each album, while also producing, engineering and mixing the albums-earning widespread acclaim. “Erik’s influence and musical knowledge have elevated everything around us,” bassist Alex Webster said. “He brings a work ethic and vision that’s unmatched.”

Despite his commitments to Cannibal Corpse, Rutan remains devoted to Hate Eternal and Mana Recording Studios. “Hate Eternal is my life’s work,” he told Premier Guitar. “And producing-that’s where I channel a different part of my creativity. I want to help bands create the best version of themselves.” With a legacy that spans multiple roles and generations, Rutan continues to define and redefine the sound of extreme metal-both onstage and behind the scenes in the studio.

About Metal Blade Records:
Founded upon owner Brian Slagel‘s enduring drive to find great bands and get their music out to as many people as possible, since 1982 Metal Blade has brought wave after wave of powerful, innovative, and often genre-defining music to the ever-hungry metal masses. It is this ethos that has seen Metal Blade build up a stunning and diverse catalog, weather the various storms facing any independent label, and in an age of declining record sales boast the most successful years of its existence as it celebrates its fourth decade.

Metal Blade Records launched Metallica, Slayer, Armored Saint, Fates Warning, GWAR, Cannibal Corpse, Amon Amarth, Whitechapel, The Black Dahlia Murder, Cattle Decapitation, and dozens more genre giants, shaping four decades and counting of hard rock, metal, and extreme music culture. Brian Slagel worked as a record store clerk when he founded Metal Blade in 1982, reserving a spot for a young Lars Ulrich on his Metal Massacre compilation series. Metal Blade grew from humble beginnings in Los Angeles to become an international powerhouse, selling millions of albums while remaining fiercely independent. In 2017, Slayer‘s Kerry King inducted the label into the Hall of Heavy Metal History. Slagel’s For the Sake of Heaviness: The History of Metal Blade Records arrived the same year.

In 2022 Metal Blade Records celebrated its 40th Anniversary by way of two live shows in Las Vegas – one featuring Killswitch Engage and another featuring Sacred Reich. In addition to these two packed live shows/parties, the label reissued its first release, the compilation album Metal Massacre, plus specially branded 40th Anniversary small batch vodka and rum, and a West Coast style IPA beer. Brian Slagel also saw the release of his second book, Swing of the Blade: More Stories from Metal Blade Records that was released on May 9th and was met with rave reviews from fans and press alike. One fan on Good Reads called the book “a sentimental journey through Brian’s metal origin-story recollections from his deep and wide perspective as founder of Metal Blade that I enjoyed very much” while MetalTalk.net wrote that “Swing Of The Blade is an endearing, honest, and enjoyable journey into the deeper world of Brian Slagel, the main man behind the legendary Metal Blade Records…this is very much Brian in his own words, recounting tales from the early days of Metal Blade through to a brief post-pandemic epilogue, where he expresses his regret that the book hasn’t coincided with the 40th anniversary of the label.” To round out the celebration, Brian Slagel opened up the label’s collection of heavy metal memorabilia to fans in Las Vegas, NV, marking the opening of the official Metal Blade Records Museum that is open every Saturday.

The celebration rolled over into 2023 and in October AXS TV picked up and premiered the Denise Korycki documentary of Metal Massacre: The Story Behind the Legendary Album. Packed with all-star interviews, rare photos, the film tells the story of the groundbreaking 1982 Metal Massacre vinyl compilation-a sonic celebration of the burgeoning Los Angeles Metal scene, which helped launch the careers of iconic acts Metallica and Ratt, and ultimately led to the birth of the legendary independent record label Metal Blade Records. The film boasts priceless commentary and anecdotes from Metal Blade founder Brian Slagel and his friend and collaborator John Kornarens, two metalheads with a dream who made Metal Massacre a reality; as well as Metallica members Lars Ulrich and James Hetfield; Ratt frontman Stephen Pearcy; and Black N’ Blue singer Jamie St. James, among many others.

In 2024, Metal Blade Records and Pantheon Media launched the “100 Songs That Define Heavy Metal” Podcast to the excitement of metalheads everywhere. The successful podcast, which is loved by fans, industry, and artists alike, is hosted by Brian Slagel, CEO of Metal Blade Records. Each episode of the series will spotlight one of the most defining songs in metal, blending artist interviews, expert analysis, and behind-the-scenes insights. Listeners are taken on a deep dive into the production, cultural impact, and legacy of each track, with insights from prominent voices like music historian Martin Popoff and producer Jay Ruston.

The podcast features exclusive appearances from musicians who either influenced or were influenced by these legendary tracks, ensuring fans a unique, all-encompassing exploration of metal music. From Metallica and Slayer to Cannibal Corpse and Alice Cooper, “100 Songs That Define Heavy Metal” covers the songs that have defined generations, blending narrative storytelling with in-depth analyses. This podcast also serves as a tribute to the fans whose passion fuels the genre and keeps it alive for future generations.

“100 Songs That Define Heavy Metal” is now available on all major podcast platforms, including Spotify, Apple Podcasts, and Amazon Music.

Find Metal Blade Records at:
Official Website | Official Bandcamp | Facebook | Instagram | YouTube
Spotify | BlueSky | Twitter | Threads | TikTok | Museum