Category: news

Corey Taylor explained why Slipknot started using kegs in their music during a recent appearance on Mythical Kitchen's 'Last Meals' series. Continue reading…

The Slipknot frontman talks about finding his peace and being able to separate that from the rage he exudes onstage. Continue reading…

Members of Larcenia Roe, Babirusa, etc. will guest on the record.

The post A Night In Texas Debut “Metastatic Misery” Video, New Album “The Darkest Side Of Humanity” Due In September appeared first on Theprp.com.

Their third new single of 2026.

The post Stellar Circuits Debut “Stargazer”, Announce Fall European Tour With Evergrey & Ignea appeared first on Theprp.com.

by Prog Nick

With a generous helping of no less than thirteen original new tracks, Deep Purple’s new studio album ‘Splat’ (the band’s 24th) certainly does make a statement about Purple’s ongoing relevance. In fact it might be the album that ushers in yet another renaissance for the band.

Even on the first run-through of ‘Splat’, there is a sense of re-invigoration that permeates the album, off-set by the regularity of familiar sounds that any self-respecting classic Purple fan would demand. And yes, I would include in that description the sounds of the classic Mark II era that produced such albums as ‘Machine Head’, ‘Fireball’ and ‘In Rock’.
The album is jubilant, energetic and, especially with Ian Gillan’s wry delivery, quite joyful. I guess that this energy and joyfulness might be contextual, bearing in mind that several of the band’s more recent studio albums were borne out of the ashes of important line-up changes caused by death or family responsibility. At this point, though, the line-up is very settled, and what an accomplished line-up it is.

With the holy grail rhythm section of Ian Paice and Roger Glover sounding as tight as ever and with Ian Gillan in finer voice than we have heard him in years, a significant foundation for the album is set. But not to be left in their wake in any way are Don Airey, who has by now established himself as the worthiest possible replacement for the great Jon Lord, and the eminently talented Simon McBride, who consistently impresses. These days, it is McBride’s fluid and brilliant guitar stylings, combined with Airey’s thunderous keyboards, that underpin the band’s sound. This line-up has existed since 2022, but to my ears there is an overall polish and aplomb to the album that sounds new-found. While retaining many of its classic sounds and still introducing new ones, Deep Purple, in its Mark IX iteration, is sounding great.

Gillan’s droll, often sarcastic but always clever lyrics are a hall-mark that permeate the album and are an important reason why ‘Splat’ succeeds. Song titles like ‘Scriblin’ Gib’rish’, ‘Jessica’s Bra’ and ‘The Rider’ (describing rock star peccadillos rather than anything equestrian), give just a hint of Gillan’s lyrical wit and inventiveness. There might not be express lyrics about racing cars or groupies any more, but the themes and innuendos that one expects from Purple are still there, just couched in a slightly more sophisticated way. Apparently there is a loose quasi-apocalyptic theme to the album, but frankly this is hard to hear. Either way, the lyrics are just great.

And Gillan’s vocal delivery of these lyrics absolutely keeps pace. While no-one could expect him to emulate the insane wailing of ‘Child In Time’ at the age of 80, there is nonetheless a precision, maturity and polish to his singing on this album that is one of the main drivers of the spark of invigoration that I described. Gillan is clearly having fun again, and you can hear it.

As for the rest of the band, they sound remarkably tight and cohesive. There is no going through the motions here – Deep Purple obviously entered the studio with a clear intent and vision for ‘Splat’. The album sports an enviable symmetry between elaborate virtuosity on the one hand and effective simplicity on the other. Airey’s often Lord-inspired but always varied keyboard textures (from Hammond to Moog and everything in between) form an important part of this symmetry. His prowess is often on show, but always in the most tasteful and appropriate way. The same might be said of McBride, who counterpoints Airey’s varied keyboard parts extremely well throughout the album. McBride has more than entrenched himself in the important role of Deep Purple’s Lead Guitarist by playing with flash that is never excessive but taste that is never boring. Together, Airey and McBride have become a melodic powerhouse that is as important to Deep Purple as the igneous rock that is Paice and Glover.

‘Arrogant Boy’ opens the album quite brilliantly by harkening back to the fast-paced pulse of songs like ‘Highway Star’ and ‘Fireball’, now with a 2026 polish conferred in large part by McBride. Airey creates the underlying groove on madcap songs ‘Diablo’ and ‘The Lunatic’, while Gillan consistently provides memorable imagery in tracks like ‘The Rider’ and ‘The Only Horse In Town.’ The band gets quite bluesy and groovy in songs like ‘The Beating Of Wings’ (one of my favorites) and the powerful ‘Scriblin’ Gib’rish’, and then quite jazzy in ‘Guilt Trippin’. ‘Jessica’s Bra’ brings back the Boogie that was last heard in songs like ‘Lazy’, while ‘Third Call’ and title track ‘Splat’ allow Mr Paice to illustrate why he is still one of the greatest groove-meisters in all of Rock. ‘Sacred Land’ is weirdly Celtic in a heavy sort of way, but it generally works, despite Gillan’s slightly pompous delivery. There is the odd rare filler moment in tracks like ‘My New Movie’, but with thirteen new Purple songs of this general calibre on offer, who can complain?

Over its 51 minutes, ‘Splat’ traverses various diverse universes, from Rock to Blues, Pop to Celtic, Classical to AOR, and yes, there is even a little Prog sprinkled in here and there. Despite the conciseness of the songs, there are some really elaborate moments on the album, and this is one of the techniques that makes Deep Purple Mark IX unique. The band has a talent for leading the listener into expanded musical territories that are often a little unexpected, in spite of the self-imposed constraints of brevity.

The album sounds fierce, melodic, heavy and diverse, just as Deep Purple should sound, and the legendary Bob Ezrin’s production is powerful and sophisticated. All in all, you can look forward to a healthy chunk of Deep Purple nostalgia coupled with much innovation from ‘Splat’.

Bearing in mind the seniority of the band-members and the fact that they have been in the top tier of rock for over six decades now, this achievement is a notable one. The music is as weighty and unbridled as classic Deep Purple, yet somehow surprisingly novel and modern. It is at very least lively and full of energy. Don’t expect any ‘Child In Time’ epics, but comfortably settle in for some good, rousing, boisterous short rock songs of the good kind.

Never a band to rest on their laurels, Deep Purple continue to prove that they still have much to offer. ‘Splat’ is thoroughly enjoyable.

Released on June 3rd, 2026

Track listing (CD/2LP):
Side A
Arrogant Boy
Diablo
The Rider
The Lunatic
Side B
The Only Horse In Town
Sacred Land
The Beating Of Wings
Side C
Guilt Trippin’
Scriblin’ Gib’rish
Jessica’s Bra
Side D
Third Call
My New Movie
Splat!

Order here: https://deeppurple.lnk.to/SPLAT 

The post Deep Purple – Splat! (Album Review) appeared first on The Prog Report.

They’ll be heading out together come October.

The post Suffocation, Ingested, Undeath & Eternal To Tour Europe This Fall appeared first on Theprp.com.

This is the fourth album from US post-rock band If These Trees Could Talk. The Hidden Hand contains 42 minutes of post-rock soundscapes for the listener to explore. If These Trees Could Talk are able guides, highlighting areas of interest and places to be wary of as these nine expressive tracks unfold. This is post-rock … Continue reading “If These Trees Could Talk – The Hidden Hand (Review)”

Hitting the East Coast this August.

The post Vanna Announce “The Search Party Never Came” 20th Anniversary Summer Tour With I Promised The World & Holder appeared first on Theprp.com.

Pros:

• Punchy, well-extended bass without turning muddy or boomy
• Excellent 39dB passive isolation for the price
• Feather-light 2.7g shells disappear in the ear during long sessions
• Kevlar-reinforced detachable MMCX cable feels far more premium than the price suggests
• IP54 rating means sweat and stage grime aren't a dealbreaker
• Generous accessory kit (six eartip options plus cerumen filters and a case)

Cons:

• Soundstage is noticeably narrow and intimate rather than expansive
• Single dynamic driver can't match the resolution of pricier hybrid or multi-BA setups
• beyerdynamic's signature treble energy may run hot for treble-sensitive listeners
• Memory wire fit takes some fiddling to get comfortable for smaller ears

Our Rating: 8/10

Weighing sound quality, build, comfort, isolation, and — critically — the $119-$159 price bracket it's competing in, the DT 30 IE earns a strong 8 out of 10. It's not chasing audiophile bragging rights, and it doesn't need to. For what it's designed to do — give musicians and everyday listeners an honest, durable, well-isolated monitor — it delivers more than its price tag suggests it should.

A Quick Word on beyerdynamic

If you've spent time in a recording studio, you've probably had a pair of beyerdynamic headphones on your head. The German company has been building reference-grade studio gear since 1924, and its DT 770, DT 880, and DT 990 lines are still staples on engineers' desks worldwide. beyerdynamic built its reputation on accuracy—sound that tells you the truth about a mix rather than flattering it. That philosophy carried over when the company entered the in-ear monitor space at NAMM 2025 with the DT 70 IE series, a set of instrument-specific tuned IEMs built for stage use. The DT 30 IE is the next chapter: a single, do-it-all model meant to bring that same professional foundation to a price point almost anyone can justify.

What is the beyerdynamic DT 30 IE?

The DT 30 IE is beyerdynamic's most affordable in-ear monitor to date, priced at $149. Unlike the DT 70 IE series, which splits its lineup into four instrument-specific tunings, the DT 30 IE is a single "all-rounder" model. It's aimed squarely at offering musicians an affordable and accurate in-ear monitoring solution—but it's just as capable as a daily-driver IEM for anyone who wants an honest, balanced sound signature without spending a fortune.

Unboxing

Build Quality and Design

The DT 30 IE carries the same general shell shape beyerdynamic has used across its IEM lineup, but this version leans into a translucent, retro-styled housing that shows off the dynamic driver mechanics inside. It's a nice visual departure from the usual matte black stage-monitor look. At just 2.7 grams per earbud, it's one of the lightest stage IEMs on the market, and the compact shell was reportedly shaped using hundreds of ear scans to maximize comfort and hold.

The standout build feature is the included cable. It's a 1.4-meter, Kevlar-reinforced, detachable design using MMCX connectors, gold-plated contacts, and integrated over-ear memory wire. It feels noticeably sturdier than what you'd typically expect at this price, and the fact that it's replaceable means a damaged cable won't end the earphone's life. beyerdynamic also gave the DT 30 IE an IP54 rating, so sweat, dust, and the occasional spilled drink backstage aren't going to be a problem.

Sound Quality

Overall Sound: The DT 30 IE goes for a balanced, slightly warm-leaning signature rather than the mid-forward tuning common in a lot of budget stage monitors. It's built to give musicians an honest read on a mix rather than an exaggerated, "fun" consumer sound—though it still manages to sound engaging for casual listening too.

Bass: This is where the DT 30 IE surprises. Its single 11mm dynamic driver produces a bass response with real sub-bass presence and punch, giving kick drums and bass guitar a grounded, physical feel without turning boomy or bleeding into the midrange. It's controlled enough for monitoring, but has enough body that it won't feel boring for everyday listening.

Mids: The midrange stays admirably flat and uncolored. Vocals and instruments come through naturally without added warmth or artificial edge, which is exactly what you want in a monitor. It's also the roomiest part of the frequency response, giving acoustic instruments and layered arrangements a sense of separation that feels more three-dimensional than the price suggests.

Treble: True to beyerdynamic's house sound, the DT 30 IE's treble carries some extra energy and sparkle. It stays articulate and detailed rather than harsh, though listeners who are sensitive to brighter tunings should know this isn't a laid-back, forgiving top end.

Technical Performance: Timbre is a big strength here. Instruments and vocals sound natural and true to life, a hallmark of beyerdynamic's tuning philosophy. Imaging is precise and easy to localize, which matters a lot for a stage monitor where you need to pinpoint exactly what's happening in a mix. The tradeoff is soundstage width: it's fairly narrow and intimate rather than sprawling, so if you're coming from an open-back headphone or a wide-staged IEM, expect things to feel more centered and direct.

Comfort and Isolation

The DT 30 IE's tiny shells and light weight make it one of the more comfortable stage monitors we've tested, and the cable with memory wire is actually an incredible quality-of-life change, allowing you to bend the wire around your ear to stay in place during performances. Most other stage monitors don't offer a memory cable, and it's a great inclusion from beyerdynamic here. The DT30 IE includes three sizes of silicone tips and three sizes of foam tips, which should give most ear shapes a proper seal. That seal pays off with up to 39dB of passive isolation, quite impressive for the price and enough to make these usable on a loud stage or a noisy commute without cranking the volume.

How Does It Compare?

vs. Shure SE215: The SE215 has been a stage-monitor staple for over a decade, and it still holds up with a warmer, smoother midrange that flatters vocals. But the DT 30 IE pulls ahead in isolation and overall tonal accuracy—the SE215's treble is comparatively rolled off and less detailed, while the DT 30 IE stays more neutral and revealing. Overall, at similar prices, I'd recommend the DT 30 IE for it's more accurate sound for professional and performance use.

vs. Sennheiser IE 100 PRO: The IE 100 PRO leans into a livelier, mildly V-shaped signature with punchy bass and a brighter top end, making it the more "fun" listen of the two. The DT 30 IE counters with a flatter, more reference-like midrange and better isolation, making it the more trustworthy option if you actually need to monitor a mix rather than just enjoy music.

vs. Westone UM Pro 10: The UM Pro 10 swaps to a single balanced armature driver, giving it a leaner, faster low end but noticeably less bass weight and sub-bass extension than the DT 30 IE. If you want a monitor built for extended sub-bass and a fuller sound, the DT 30 IE is the more satisfying listen; if you prioritize speed and a slightly analytical presentation, the UM Pro 10 still has an audience.

Final Verdict

The beyerdynamic DT 30 IE is proof that a budget stage monitor doesn't need to feel like a compromise. It nails the fundamentals: honest tuning, real isolation, a durable build, and a comfortable fit—while adding a bass response with more punch and presence than you'd expect from a monitor this affordable. It's not going to replace a flagship multi-driver IEM in outright resolution or soundstage size, but for musicians taking their first step into in-ear monitoring, or anyone who wants a genuinely accurate-sounding IEM without paying audiophile prices, the DT 30 IE is one of the best buys in its category right now.

The DT30 IE is an easy recommendation to any musician or performer who needs an accurate IEM that will stay securely in place.

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Technical Specifications

• Driver: 11mm dynamic driver, designed and manufactured in Germany
• Frequency response: 5 Hz – 20,000 Hz
• Passive isolation: Up to 39 dB
• Maximum sound pressure level: 137 dB
• Weight: 2.7 grams per earbud
• Cable: 1.4m Kevlar-reinforced, detachable MMCX connector, gold-plated contacts, integrated memory wire
• Termination: 3.5mm 3-pole jack plug
• Ingress protection: IP54 (dust and water splash resistant)
• Included eartips: Three pairs silicone (S/M/L), three pairs foam (S/M/L)
• Included accessories: Extra foam cerumen filters, quick start guide, carrying case
• Price: $149.99

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We learned back in 2024 that Britney Spears had sold the rights to her memoir, The Woman In Me, to Universal, and a biopic was on the way with Marc Platt producing and Jon M. Chu directing. Now, we finally have an update.

The post <em>New Girl</em> Creator To Write Britney Spears Biopic appeared first on Stereogum.