A definitive answer.

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Well here’s something the world absolutely needed! Say hello to Candybar from Brooklyn, New York! Big Eyes were one of the shining lights of punk-influenced power pop in the 2010s. They released four albums between 2011 and 2019, establishing Kait Eldridge as one of the finest songwriters of her generation. And just like that, they were gone. Candybar reunites Eldridge with her Big Eyes band-mate Jeff Ridenour. They’re joined by Lily Gist (Frida Kill) on bass and Dante Fotino (Born Sinner, Puddle Splasher) on drums. There was very little advance hype about Candybar, but it’s not going to take long for the excitement to spread given the quality of the foursome’s debut EP. It’s called First Bite, and it delivers three truly excellent tracks. Candybar is not necessarily Big Eyes, part 2. But if you’ve always loved the way Eldridge blends punk, power pop, and rock influences in her own signature style, you will not be disappointed in First Bite. All three of these tracks rock hard and are crammed full of hooks. The catchy, crunching “Queen of Sunday” is an ode to the coziest day of the week and the joy of lying around the house doing whatever you feel like. “Love Comes and Goes” (which has a bit of a glam rock vibe to it) and the pure pop gem “Wash the Salt” are heartfelt, deeply relatable love songs. As the title reflects, this is just a small first taste of what Candybar has in store for us. This is a band that people are going to be talking about, and so many of us have taken that first bite and are left craving much more. Stay tuned!

Finger it out.

The post Queens Of The Stone Age Announce New Album “Perfecth” appeared first on Theprp.com.

MAIDENHEAD GUITARIST ZACK ROBERTS TALKS ‘MAXIMUM CLONAGE,’ CHRIS POLAND, GLEN DROVER, RANDY BURNS AND THE FUTURE OF THRASH METAL

Massachusetts/Rhode Island thrash/death metal outfit MAIDENHEAD recently released its new album, “Maximum Clonage.” Guitarist Zack Roberts discussed the record, the band’s new lineup, its high-profile guest musicians and the group’s plans for the future during an appearance on “The Zach Moonshine Show” on Metal Devastation Radio.
Maidenhead’s new album, Maximum Clonage , arrived August 14, bringing together the band’s old-school thrash/death metal influences with a modern recording approach and a lineup that features some serious firepower.
Among the musicians appearing on the album are former Megadeth guitarist Chris Poland , former Megadeth and King Diamond guitarist Glen Drover , and Annihilator bassist Rich Gray . The album was also mixed by veteran producer Randy Burns , whose credits include Megadeth, Death, Nuclear Assault, Kreator and Possessed.
During his appearance on The Zach Moonshine Show , Maidenhead guitarist Zack Roberts discussed how those collaborations came together and what the band was attempting to accomplish with Maximum Clonage .
“It was a bucket-list experience,” Roberts said when discussing the opportunity to work with musicians who had influenced him personally.
The involvement of Chris Poland came about after Roberts met the guitarist at a convention in Massachusetts. After eventually reconnecting, Poland agreed to contribute a guest solo to the Maidenhead track “Kill Or Be Killed.”
Glen Drover’s appearance came together after Roberts contacted him through social media.
“I reached out to him and just asked if he would be interested in doing something with us,” Roberts explained.
Rich Gray’s contribution was somewhat more extensive. According to Roberts, Gray recorded bass parts for multiple songs and completed the work in roughly two days.
“He even tapped out all the music for us,” Roberts said, explaining that the tabs would also help whoever eventually takes over the band’s bass duties learn the material.
‘NOT STERILE, NOT OVERLY PRODUCED’

For Roberts, the production of Maximum Clonage was just as important as the musicians involved.
The album was mixed by Randy Burns, whose resume reads like a history lesson in extreme metal. Roberts said Burns’ use of analog equipment helped give the record the warmth and character the band wanted.
“Not sterile, not overly produced, pretty old school, but still kind of modern,” Roberts said when describing the album’s sound.
That balance was deliberate.
Roberts and Moonshine discussed the differences between modern ultra-polished production and the more aggressive character of classic thrash and death metal.
“If you’re doing that old school thrash death metal thing,” Roberts explained, using analog equipment and other techniques to retain an old-school character “is pretty sick.”
The result is a record that Roberts believes maintains the aggression of classic metal while benefiting from modern recording and mastering techniques.
THE ARTWORK AND THE WORLD OF ‘MAXIMUM CLONAGE’

The album’s visual presentation also plays a major role in the Maidenhead concept.
Roberts discussed his appreciation for classic metal album artwork and the influence of artists such as Ed Repka, whose work became synonymous with some of the most recognizable thrash and death metal releases of the 1980s and ’90s.
For Maximum Clonage , Maidenhead commissioned multiple pieces of artwork, including illustrations for the individual songs.
The record’s storyline revolves around clones and a character attempting to battle them. Maidenhead’s mascot, Nada, is also part of the concept, with the character inspired by the protagonist of John Carpenter’s 1988 cult classic They Live .
The album also draws inspiration from the video game Killing Floor .
The opening track, “Enter The Killing Floor,” was specifically influenced by the game’s soundtrack. Roberts said the band even brought in a synth player to help capture the sound and atmosphere of the game.
‘KILL OR BE KILLED’ WAS INSPIRED BY ‘PREDATOR’

Not all of the album’s concepts come from the same place.
Roberts revealed that “Kill Or Be Killed” was inspired by the 1987 Arnold Schwarzenegger film Predator .
The song incorporates elements from the movie, including its famous “get to the chopper” reference.
Other songs take a darker and more personal approach.
“False Masked Hero” deals with people who present themselves as friends while behaving differently behind someone’s back, while “Death March” explores the human cost of war and the idea of individuals being sent into conflicts they may not personally support.
The album also explores fantasy, supernatural themes and the ongoing battle between good and evil.
JACKSONS, MARSHALLS AND A QUAD CORTEX

Roberts also gave listeners a look at the equipment behind Maidenhead’s guitar sound.
For the album, he used a Jackson KVXMG , which he originally purchased as an inexpensive guitar he could take on the road. He also discussed his 2000 pre-Fender Jackson King V, which he has been using extensively for live performances.
His current live setup includes a Neural Quad Cortex , a Marshall 100-watt power amp and a Marshall 4×12 cabinet.
Roberts said the compact setup allowed him to take his entire rig to California while maintaining essentially the same guitar sounds heard on the album.
“I can fit that in a backpack,” he said.
Despite using modern modeling technology, Roberts remains firmly attached to the sound and feel of Marshall amplification.
The result is another example of Maidenhead’s approach to Maximum Clonage : use modern technology where it makes sense without losing the character of traditional heavy metal.
MAIDENHEAD ALREADY HAS ITS NEXT RECORD IN SIGHT

Despite having just released Maximum Clonage , Maidenhead isn’t planning to sit around for long.
Roberts revealed that the band intends to work on new material while also re-recording its earlier album Decapitation Of A Maiden .
The reason is simple: Maidenhead now has a largely new lineup, and Roberts believes the current incarnation of the band is tighter and better prepared to revisit the older material.
“We’re a tighter band,” Roberts said. “We’re better at recording.”
Roberts believes the older songs deserve the same treatment that was given to Maximum Clonage .
A MAIDENHEAD VIDEO GAME?

Perhaps the most unexpected revelation of the interview was Roberts’ plan to potentially turn Maximum Clonage into a video game.
He is currently working on the concept for a Sega Genesis-style 2D shooter based on the album.
The project could eventually be released through Steam and mobile platforms. Roberts has even investigated the possibility of producing a limited number of actual Sega Genesis cartridges.
“I did also look into actually getting it on Sega Genesis cartridges,” Roberts said.
For a band whose album concept already draws heavily from classic video games, the idea makes perfect sense.
Roberts also discussed the possibility of setting up an actual Genesis console at the band’s merchandise table so fans could play the game while checking out Maidenhead’s merchandise.
‘YOU HAVE A LOT MORE CONTROL’

The discussion eventually turned toward the realities of being an independent metal band in 2026.
Roberts acknowledged that modern musicians are responsible for far more than bands were expected to handle decades ago. Recording, promotion, merchandise, touring and other aspects of the business increasingly fall on the artists themselves.
At the same time, he sees a major advantage in the current landscape.
“You have a lot more control, I think, in this modern era of being an independent musician,” Roberts said.
According to Roberts, the tradeoff is that bands must provide much more of their own financial backing, but they also have considerably more creative freedom.
“If you do work hard enough, you can still achieve what the people who would have been backing you… you’d still be able to achieve those same things if you had that backing,” he added.
That philosophy seems to be reflected in Maidenhead’s approach to Maximum Clonage .
The band isn’t waiting for somebody else to tell them what the record should sound like, what the artwork should look like or what merchandise they should sell.
They’re doing it themselves.
FROM IRON MAIDEN AND MEGADETH TO MAIDENHEAD

Roberts’ own history with heavy metal goes back to childhood.
He recalled being introduced to Iron Maiden through his father, who brought home The Number Of The Beast , while his mother introduced him to Metallica. Megadeth would eventually become one of his biggest musical influences.
One particularly memorable story involved Roberts repeatedly singing Bon Jovi’s “You Give Love A Bad Name” while visiting his older cousin.
His cousin eventually put headphones on Roberts, dropped the needle on The Number Of The Beast and recorded the album onto cassette for him.
“That really just blew my mind,” Roberts recalled. “I was fucking hooked.”
Decades later, Roberts is now releasing music featuring guest appearances from musicians connected to some of the same bands that helped shape his musical identity.
That’s quite a journey.
WHAT’S NEXT?

Maidenhead will hit the road next week with Radar, with dates scheduled across New York, Connecticut, Vermont, New Hampshire and Massachusetts. Roberts encouraged fans in those areas to come out and see the band live.
Beyond the immediate touring plans, the band has plenty on its plate: Maximum Clonage , new material, a re-recording of Decapitation Of A Maiden , potential vinyl plans, expanded merchandise and, if everything comes together, a heavy metal video game straight out of the 16-bit era.
For a band rooted firmly in the classic thrash/death metal tradition, Maidenhead appears to be taking a decidedly modern approach to keeping that spirit alive.
Maximum Clonage is available now.
Listen to the complete Zack Roberts interview on “The Zach Moonshine Show” via Mixcoud below:
Full Track List:
Battle Of The Bands Top Six Winners:
1 – Okl’s FruitLoops – Scream Of Silence – (1,394,084 votes)
2 – Soul Of Sheol – Paradise Is Not For Us – (34,961 votes)
3 – Rage of Justice – Digital Prison – (8,039 votes)
4 – Heidbekka – Völva – (4,457 votes)
5 – Mistress – Terrified eyes – (2,166 votes)
6 – HKSPK – rot in despair – (1,156 votes)
The Zach Moonshine Intro
7 – Black Sabbath – Black Sabbath (live 98)
8 – Ola Englund – DOGMA PROGMA
9 – Narcotic Wasteland – Fentanyl Zombie Apocalypse
10 – Marilyn Manson – Unalive
Maidenhead – Interview featuring Maximum Clonage/Death March
11 – GODFLESH – Living/Ending
12 – Miscreance – The Moaning Hill
13 – Crown Magnetar – Shut Up and Bleed
14 – Thorndale – Spiritual Chains
15 – Nefarious Grime – Vampiric Seduction
16 – Burnt Witch – We Hate You – (Electric Wizard Cover)
17 – Deth Provider – Weaponized/March of Decay
18 – Mass Punishment – Eye of the Storm
19 – Rise From Your Grave – Like Mother Said
20 – NetherDred – Necrodancer
21 – Flight of Odin – Andromeda
22 – Visions of Morpheus – I Will Arise
23 – TAETHEN – Paradise for Fools
24 – Wooden – Veil Of Mankind
25 – Seethe – Between Here and Delirium (Lost)










You can also check out the interview clips on YouTube, Spotify and Apple: 


Super huge shout out to the 364,790 metal maniacs tuned to the live broadcast! 






Check out the new lyric video: 


For More Information

Connect: 
MaidenheadUSA.com
https://maidenhead666.bandcamp.com/
Facebook.com/MaidenheadUSA
https://www.youtube.com/@MaidenheadOfficial
https://open.spotify.com/artist/1z7IVuXBf353WnbIYNOzmN

Fontaines D.C. are slowly coming back into the fold, ratcheting up the hype along the way. Earlier this week, they debuted a couple of new songs live and have been teasing a new album. But last night, at the closing night of French festival La Route du Rock in Fort-de-Saint-Père, France, the Irish rockers brought out one of the inspirations behind their 2022 hit “Roman Holiday” — Kurt Vile.

The post Kurt Vile Joins Fontaines D.C. At La Route Du Rock appeared first on Stereogum.

The post særa Choosing Myself Review appeared first on Edgar Allan Poets – Noir Rock Band.

A prog legend’s daughter and The Clash’s former bassist aren’t the most obvious collaborators. But in 2023 Galen Ayers and Paul Simonon released Can We Do Tomorrow Another Day? which featured a laidback Mediterranean vibe reminiscent of Galen’s late father, Kevin.

Produced by Tony Visconti and featuring guest spots from Damon Albarn (Blur, Gorillaz) and others, the album had its roots in a Mallorcan fishing village, where Simonon stayed during lockdown. Just before its launch the pair told Prog its story.

How did the collaboration come about?

Galen Ayers: After the hard Covid lockdown, Paul was just coming back to London from Spain and I was coming back from Greece. We’d both been writing songs. We started chatting and realised we were in the same place. The fun thing, I think, is this third space that opens up in any good collaboration, because you’re being pushed in ways that you wouldn’t necessarily go if you were just alone.

Paul Simonon: It was quite intense in a way, because you open up completely. We both agreed from the beginning that we should be totally honest with each other. That seemed to be the best way to move forward: going by gut instinct.

So is Mallorca a key place for both of you, creatively?

GA: Sure. I grew up there with my dad, I lived there with my stepfather and my mum and I went to school there. I was practically a Spanish girl and spoke the local dialect, Mallorquin.

PS: The record really started off there, after I’d gone to Mallorca to paint. I had a guitar with me as well, so it was an alternative way of being creative. It’s the same thing – the element of thought and feeling and expression. And I’ve always been open to European music. Jacques Dutronc and people like that. My dad used to play things like Francoise Hardy and Jacques Brel.

But you wanted to be a painter rather than a musician, right?

PS: Yeah. I got to art college, met Mick Jones [Clash co-founder] and somehow ended up playing bass. Mick said, “You’re a bit like Stuart Sutcliffe.” I went, “Who’s he?” He said, “The one that was in The Beatles. He couldn’t play bass either, but he was a good artist.” So that was sort of my inspiration in the very beginning.

Was it always going to be a musician’s life for you, Galen?

GA: No. I rebelled against it. At first I was always singing and I toured a bit with my dad. But then I saw the human cost of the life and I didn’t want that. I was quite a strong academic – I have two masters – and I was adamant to find a different path. But eventually it just came naturally that, as a writer, adding music is another form of expression. Now you have a whole other layer of emotion.

Was prog ever on your radar, Paul?

PS: My brother used to be into Yes and things like that, but it just didn’t speak to me. It didn’t represent anything that I felt. They knew too many chords, that’s the problem! Galen and I are really from two different worlds

Kevin shoved the guitar towards Galen and said: ‘You’re on your own now.’ That’s a great attitude!

Paul Simonon

GA: But we did find some middle ground. You enjoyed the early Syd Barrett albums I played you.

PS: Yeah – it’s like your dad’s stuff.

GA: It’s more song-based. When I started getting interested in songwriting there were progressives in my house at all times.

Didn’t Daevid Allen used to be your babysitter, Galen?

GA: They all were! I went to see King Crimson a few years back and met Robert Fripp. I said, “I’m sure you were our babysitter at some point.” He goes, “Well, you didn’t look like that!” Sometimes I dread it when I go to these get-togethers of like-minded people, because it’s either, “Your dad owes me money!” or “Your dad slept with my wife!” or something. I’m like, “It’s not my fault! I didn’t do anything!” But it’s always said with a smile, y’know? He was well-loved. I think Kevin was just way too sensitive to be a business person. There was this burning fire, with no compromise.

What kind of things did he teach you?

GA: He wasn’t very fatherly in terms of giving advice. But he wrote this beautiful letter to me, where he likened being a songwriter or an artist to being a tightrope walker. You just have to live a life where you don’t have a safety net. If you get scared or stop, you fall; so you just push forward.

PS: I love the story Galen told me about him. There was a guitar on the floor and he just shoved it over towards Galen and said: “There you go, you’re on your own now.” I think that says quite a lot. That’s a great attitude!

GA: Kevin was unconventional in terms of presents. On my 21st birthday he was playing his J200 Gibson that Jimi Hendrix gave him. It’s the guitar I’d grown up with, a beautiful-sounding guitar. He just put it in the case, closed it, kicked it softly across the floor and his exact words were: “Take over, kid!”

Our Top 10 Earth, Wind & Fire Songs list takes a look at a band that dominated the music charts in the 1970s and 1980s. Simply put, they are one of the greatest bands of all time for many reasons. First and foremost, they recorded and released multiple great albums and singles. The group merged so many different styles of music together, from pop to R&B, soul, jazz, rock, Latin, and funk, into a sound that was as big and addicting as you could get. They are almost indescribable because they were so good at what they did and built

The post Top 10 Earth, Wind & Fire Songs appeared first on ClassicRockHistory.com.

Last night, indie pop event Glas-Goes Pop played host to a near-reunion of Felt, with three members of the influential jangle-pop band taking to the stage together for the first time in decades.

The post Felt Members Reunite As Feel For First Show In 37 Years appeared first on Stereogum.

Album Review: Cvinger – Rites Ov Flesh

Reviewed by Sam Jones

It’s been a while since we checked some black metal out and today’s record is Slovenia’s Cvinger and Rites Of Flesh. Formed in 2012 the band have been consistently releasing music for a long while now, their first album coming out way back in 2014 and since then pursuing a consistent track record of releases. 2016 saw Embodied In Incense but after a seven year gap Cvinger returned with album three in the form of Doctrines By The Figure Of Črnobog; I firmly remember seeing that album art everywhere for it made significant waves upon release. Three years later Cvinger return with this fourth album now partnered with Void Wanderer Productions and slated for an August 20th release date. Knowing who these guys are now I was doubly interested to finally sink my teeth into some Slovenian black metal.

If Cvinger wanted to convey the pervading sense of doom and despair then their introductory piece does the job well and then some, dripping with ambience before the band explode with the first real track. It ultimately states this won’t be a record that shall hold your hand. When the band’s songwriting does get started it’s the kind that’s hellbent on snapping your neck but isn’t so dedicated to speed that they forget to slow down and really let their evil ooze with delicious fervour. As a newcomer to Cvinger I can immediately say the band employ vast swathes of bass into their performance, giving the razor-bladed riffs the impactful edge black metal often forgoes in lieu of piercing aesthetic. Though their performance is bristling with energy and there is always something happening in the moment, it feels remarkably grounded.

Speaking of speed these are some of the most furious blast beats I’ve encountered in a long while; when Cvinger want to play faster there is exceedingly little that is going to avert their course from tearing your eyes out. That is, unless, their songwriting suddenly sees them touch the ground again and the vocals act as a driving wedge between rampancy and conveying that more mature blackened soundscape. Cvinger are adept with annihilation by though the drums gather intensity like its birthright, I appreciate they don’t rise so high into the mix they drown everything else out. Blast beats are conveyed and acknowledged without the mix throwing them into conflict with riffs or vocals for example, likely due to the drums’ taut and rough-sounding skin which gives them the needed resonance to push through the great din Cvinger ceaselessly summon.

The track structure is interesting because throughout the record you have a plethora of regular-length songs front and back, but then they’re split apart by a huge nine-minute piece that’s far and away the band’s biggest work on album here. In a way one could view this behemoth as a real test as to whether you can endure everything else to come, whether you really dig Cvinger’s soundscape. But it also serves to split the record into two clear sections given Cvinger don’t employ any instrumental or ambient pieces to break the record up. The record may therefore be a nonstop piledriver with the sole purpose of cleaving your torso into numerous pieces, but this lengthy track fulfils the role now being noticeably longer than the rest, being grander and with more to offer.

The result of the production applied has been to create an impact more akin to a brick hurled into your face as opposed to cutting you open. If you listen to the vocals and riffs together you’ll notice how everything feels to be on the same level; there isn’t any wavering or lacklustre or overpowering force on the band’s part, everything has been slapped onto the same level and

then mixed in to give each component their purpose. This gives Cvinger’s sound something reminiscent to death metal where their aim is to subject you to wholly belligerent batterings except here there’s the evidently blackened twinge. It’s this blunt force impact that provides the majority of Cvinger’s entertainment since there are only so many reprieves they provide, otherwise it’s one track after another of Armageddon-inducing rage.

In conclusion, Rites Ov Flesh is the kind of record where you want to be blitzed over the head nonstop with power and devastation and won’t think a second to offer you mercy. With that said, Cvinger’s sound isn’t utterly unapologetic, it’s surprisingly grounded and you’ll be able to follow them from start to finish with little difficulty. They clearly didn’t want you to get lost in some heathen whirlwind for their production keeps slamming tracks right in your face and with little place to escape from them too. Cvinger’s style of black metal offers a nice change of aesthetic from the slicing, freezing style familiar to black metal. A worthwhile recommendation for sure.

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