Storm Force have released their performance music video for the new single ‘Anti Social Media‘, from their new album ‘Truth‘. The entire album is available to stream or as a 24 bit hi res digital download on Bandcamp. CDs are available from Eonian Records. Greg Fraser talks about what was behind the song ‘Anti Social […]
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Carmine Appice and Cactus have released a new video for the track “300 Pounds of Joy”, taken from the new Cactus album Temple Of Blues II out now on Cleopatra Records. The track and video feature the amazing talents of Ty Tabor and Artie Dillon, alongside Carmine Appice.
Carmine Appice shared his thoughts on on the “Howlin’ Wolf” song and video “300 Pounds Of Joy”, “This song is so cool, “Great Howlin’ Wolf” song with the killer drum groove. I copied the groove and the video is awesome with a great ROCKY kind of story!”
This time, I wanted to make a real blues album for Temple of Blues 2. Temple of Blues 1was made up entirely of Cactus songs. I’ve always loved the Howlin’ Wolf album, which also gave Cactus our biggest song, “Evil.”
Now the Temple opens again, this time for an all-star aggregation that recalls Ted Nugent, Billy Sheehan, Bumblefoot, Dee Snider, and Pat Travers from volume one, alongside an all-new wave of heavy hitters including Steve Morse (Deep Purple), Tracii Guns (L.A. Guns), Joe Lynn Turner (Rainbow, Deep Purple), Rudy Sarzo (Ozzy Osbourne, Quiet Riot), Alex Skolnick (Testament), and a whole lot more!
The original Cactus grew out of Appice’s past experiences with Vanilla Fudge and Beck Bogart and Appice, debuting in 1970 with a self-titled album and an immediate impact on the live circuit. And Temple Of Blues II takes us back to their birth. That summer, Cactus were among the main attractions at the Isle of Wight Festival in England, and the new album’s “Purple Haze” reunites them with both another of that bill’s audience favorites, Melanie, and its overall headliner, Jimi Hendrix.
Elsewhere on this thunderous sequel, Pat Travers returns for the mighty “Moanin’ At Midnight,” Joe Lynn Turner joins Morse, Carmine’s guitar Zeus bandmate Tony Franklin and Derek Sherinian (Dream Theater) for “Bad Stuff,” Dee Snider (Twisted Sister), and Tracii Guns (L.A. Guns) lead the way for “The Little Red Rooster,” and Ted Nugent and Bob Daisley (Rainbow) join forces for an astonishing “Spoonful.”
But every track here expands the raw blues rock vision of Volume One with even more fire, swagger, and authority. And Carmine, of course, anchors the proceedings with his unmistakable power, groove, and feel, driving every track and reaffirming his status as one of the most influential drummers in rock history.
The current lineup of Cactus came together in 2021. Lead vocalist Jim Stapley comes from England and had worked with ex-Faces/Who drummer Kenny Jones in the Jones Gang and Humble Pie. “Nearly five decades after I formed this band, the time had come to re-invent Cactus once again,” says Appice, who also still drums for Vanilla Fudge, The Appice Brothers Drum Wars, and a hybrid tribute to former band leader, Rod Stewart. Adds Appice: “The music remains the same and Cactus is still a ‘hot and sweaty’ band. The level, quality and consistence of the band’s musicianship is as strong as ever.”
Cactus has had a long and turbulent history. Formed in 1970 from the ashes of Vanilla Fudge by Carmine Appice and Tim Bogert, the initial line up also featured McCarty (from Mitch Ryder and The Buddy Miles Express) and Amboy Dukes vocalist Rusty Day. While Cactus saw success from the start and soon built a loyal fan base, by early 1973 the band had collapsed mainly due to lack of real support from its label and the fact that Jeff Beck was now ready play with Carmine and Tim in BBA.
The band reformed in 2006, three decades after the tragic death of Rusty Day with Randy Pratt on harp (who also appears on this album) and Jimmy Kunes vocals. When the late Tim Bogert was forced into retirement due to complications after a serious motorcycle accident, Pete Bremy joined on bass before Caputo replaced him in 2020.
Temple of Blues 2 is available to pre-order here.
The post CARMINE APPICE & CACTUS Release New Video for “300 Pounds Of Joy” Featuring TY TABOR & ARTIE DILLON From Their New Album “Temple of Blues II” appeared first on Sonic Perspectives.
The song opens with an infectious energy. A consistently fresh and intense rhythm draws the listener in. When the vocals enter, the arrangement simplifies to bass and drums, accompanied by a playful guitar. The lead vocalist delivers a beautiful timbre reminiscent of bands like Weezer. The recording feels remarkably present, as if the band is right there in the room with you.
As the chorus kicks in, the energy surges; the guitar pushes forward, the bass soars with engaging lines, and the drums keep a strong pace. There is a strong chemistry within this band, evident in their precision and clarity of sound. The song explores a unique perspective, portraying the experience of a queer individual who is secretly in love with his straight best friend.
Feelings of jealousy arise as he vies for attention, grappling with the reality of his friend’s girlfriend receiving the affection he longs for. This subject matter feels contemporary, adding a vibrant layer to the overall composition. The lighthearted approach to a deeper theme is skillfully executed.
At approximately 2:40, the song takes an intense turn, stripping down to only guitar and vocals. This moment creates a pause that prepares listeners for an explosive finale. The transition showcases the band’s ability to dynamically shift the mood of the song.
The incorporation of garage rock vibes enhances the infectious quality of the track, allowing it to resonate with a diverse audience. The raw energy of the music combined with the earnestness of the lyrics contributes to a richly enjoyable experience. The band successfully illustrates themes of love, jealousy, and self-identity, making it relatable for many.
The vocal delivery remains consistently strong, maintaining the listener’s interest from start to finish. Each chorus feels like an anthem, inviting participation and connection.
This single is likely to appeal to those who favor indie rock infused with genuine emotional resonance. Pink Triangle’s approach connects with listeners on multiple levels. The careful crafting of their sound and lyrics positions them favorably for enduring success.
“I Wanna Be That Girl” is an energetic anthem that dances between lightheartedness and profound themes. The band’s skillful execution ensures that each element—from the driving rhythm to the lyrics—is well-balanced and resonant. This track deserves a place in any modern rock playlist, standing strong as a reflection of contemporary experiences in love and identity.
Energetic
If you love this music: Discover MoreFor fans of:
Weezer
The post Pink Triangle I Wanna Be That Girl Review appeared first on Edgar Allan Poets – Noir Rock Band.
Posted on October 16th 2026, 4:02pm
Anthrax’s founding rhythm guitarist Scott Ian has reflected on the thrash metal stars’ chaotic tour with Pantera in 1997 and ’98.
Talking exclusively in the brand-new issue of Metal Hammer, the 62-year-old says he truly “learned how to drink” while on the road with guitarist Dimebag Darrell and the boys, for whom nu metal outfit Coal Chamber opened.
He also recalls a particularly wild story where he was sick after an intense night, only for Dimebag to be waiting outside the toilet with even more alcohol.
“We did a tour with Pantera and it was fucking chaos,” says Ian. “I would ride on Dimebag and Vinnie’s [Paul, drummer and Dimebag’s brother] bus sometimes, which seemed like a good idea when you were getting on it at 3am. And then it’s seven in the morning and they’ve been watching the same live Kiss videos for four hours.”
The guitarist continues: “I learned how to drink on that tour. One night I ran to the bathroom and threw up. I opened the bathroom door and Darrell’s standing there with a shot waiting for me. ‘Dude, I just threw up.’ He looks at me and goes, ‘What are you talking about, Baldini? Now you just have more room.’”
Dimebag, who was fatally shot aged 38 during a show by he and Paul’s post-Pantera band Damageplan in 2004, was a legendary drinker to the point that he had his own signature beverage called the Black Tooth Grin, named after a Megadeth lyric. Machine Head frontman and friend Robb Flynn recalled in 2022 that Dimebag once got so drunk at a show that he smashed up one of Flynn’s guitars, yet he still went on to play perfectly.
Flynn told YouTuber Ola Englund: “He picks up my guitar, and he goes – headstock first – right into the fucking ground. And I was like, ‘Dude!’ I was fucking pissed!
“And that dude gets out there – and literally plays a fucking flawless show. Just every fucking note, every lead… dude doesn’t miss a note. If I hadn’t seen it with my own eyes, I never would have believed [it].”
Anthrax collaborated with Dimebag on multiple occasions, getting him to contribute guest guitar solos across three of their studio albums: Fueled and King Size on 1995’s Stomp 442, Inside Out and Born Again Idiot on 1998’s Vol. 8: The Threat Is Real, and Strap It On and Cadillac Rock Box on 2003’s We’ve Come For You All.
The veteran New York thrashers released their long-awaited new album Cursum Perficio via Nuclear Blast last month. Parts were recorded at Studio 606, the California recording space owned by Foo Fighters frontman Dave Grohl. The band have no upcoming tour dates announced but recently played a run of shows supporting Iron Maiden.
Read the full interview with Anthrax, conducted by Grohl, in the new Hammer. The issue also features an in-depth celebration of late Metallica bassist Cliff Burton, 40 years after his death. Order your copy now and have it delivered directly to your door.
(written by Islander) Serpent Skies are a Swedish melodic death metal band from Gävle, Sweden who are returning after a 13-year hiatus with a new chapter in their story. The band’s current incarnation was formed in 2012. Drawing their inspirations from the classic Gothenburg sound, they released a debut EP named Graveyard Poets that same […]
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Iron Maiden will return to North America in spring 2027 for 16 additional dates on their Run For Your Lives Tour, in what the band says will be the third and final leg of its 50th anniversary trek.
The new shows follow the band’s 2026 run across the United States and Canada, concentrating on areas missed on the previous leg, including the North West and South East. The itinerary mixes arena and outdoor shows, ending with headline appearances at Sonic Temple in Columbus, Ohio, and Boardwalk Rock in Ocean City, Maryland.
Iron Maiden will bring the full Run For Your Lives production, with a setlist focused on the early decades of their career. The band also plans to bring back its Eddie’s Dive Bars fan events.
Bassist Steve Harris explained that the band had originally planned to take a break from live performances in 2027, but the response to the recent North American shows persuaded them to return to regions they had missed. He said the group also welcomed the opportunity to play two US festivals at the end of the tour.
Manager Rod Smallwood praised the strong attendances and multi-generational crowds on the recent leg. According to the announcement, the completed Run For Your Lives Tour is expected to total 107 shows, reaching more than three million fans across 36 countries.
Bullet For My Valentine will join as special guests, ahead of the announced 19 March 2027 release of their album Social Apocalypse. The Raven Age complete the all-British bill, following previous shows supporting Iron Maiden in South and Central America.
Artist presales begin Monday 19 October 2026 at 10am local time, followed by additional presales during the week. General ticket sales begin Friday 23 October at 10am local time. Festival ticket details will be available through the respective event websites.
VIP packages will also be offered, including a seated concert ticket, access to the official Iron Maiden TROOPER pre-show party and exclusive merchandise. Further information is available at IronMaiden.com.
The song begins with an atmospheric introduction that evokes nostalgia and intensity. It mirrors the feeling of watching rain cascade down a window. This mood is established, drawing listeners into an emotional space. Inês Rebelo’s delicate voice enters, intertwining with the lyrical melody. She possesses a warm and intense tone that hypnotize the listener. It invites a deep exploration of the song’s meaning. “Civilisation” prompts reflections on contemporary issues such as corruption, money, and ego. These elements threaten to undermine society.
The production quality shines through the collaborative efforts of Danny Elliott. Their dynamic synergy is evident in the introspective nature of the song. The music resonates deeply, striking a chord with those who hear it. Nothing feels out of place; each element contributes to the overall impact. Beautiful backing vocals in the chorus open up the auditory experience.
Guitar arpeggios add a lush texture that elevates the composition. The bass line is fluid, gracefully interacting with the rhythm of the drums. These aspects create a rich musical experience that engages the listener fully. “Civilisation” is a fantastic work that deserves attention from all music enthusiasts. It captures the essence of struggle in today’s world, framed within an artistic expression.
The song resonates with a thoughtful urgency. Rebelo’s voice carries the weight of meaningful lyrics without faltering. In contrast to the despair in the lyrics, the arrangement offers moments of beauty and reflection. This juxtaposition deepens the listener’s connection to the song. The dynamic interplay between instrumentation and vocals creates a conversation within the music itself.
As the song progresses, layers of complexity unfold. Listeners can decipher the intricate thoughts and emotions that fuel the composition. Each listen reveals a new perspective and detail.
Listeners may relate to the feelings of frustration and hope embedded in the song. The combining of introspective lyrics and thoughtful production creates a holistic experience.
The collaboration between Rebelo and Elliott exemplifies artistic synergy. The result is a polished production that still retains an organic quality. This ensures that the emotional honesty is preserved.
“Civilisation” by Forgotten Garden offers a reflective journey through music. It speaks to the current state of the world. The song ultimately resonates on multiple levels, making it an essential listen for those seeking depth in their musical choices.
Nostalgic
If you love this music: Discover MoreThe post Forgotten Garden Civilisation Review appeared first on Edgar Allan Poets – Noir Rock Band.
Maybe you’re a romantic. You find beauty in tragedy. You dream of windswept moors and ruined cathedrals. Of Cathy and Heathcliff. When you close your eyes you imagine your back being pressed against a gravestone, a hand sliding up your thigh. You exist between darkness and the dying of the light. And maybe, just maybe, you like your music a little rough. ‘To Die As Lovers May’ might be the EP for you.
In the history of band names rarely has one been so perfect as Venus Grrrls. Literally the goddess of love intertwined with the attitude of the riot grrrl movement. That’s their sound, right there. They describe it as ‘Goth Grunge’ which means they power the atmosphere of dark wave and post-punk with the beating heart of a rock band. It’s a lovers’ tryst between Siouxsie And The Banshees and Guns N’ Roses and it’s absolutely intoxicating.
Thus far Venus Grrrls’ career has been like a ball at Thrushcross Grange; lively music, a great opportunity and handful of singles. The new EP is their first big push, basically showing off exactly what they’re capable of. For this reason, it opens with the single ‘Eve’. Powered by an absolutely crushing drum beat from Alannagh Doherty and a throbbing bassline from Hannah Barraclough it whirrs like a terrifying industrial machine. As Eliza Lee’s guitar saws down the centre you can feel yourself being churned up in its emotive gears. It’s a thrilling start. With the standard set so high the subsequent songs are free to explore more varied soundscapes.
Each song has its own distinct identity. So although songs like ‘Carmilla’ and ‘Wormfood’ are powered by delicious riffs they writhe and contort into different shapes. With its shimmering verses and gated drum sound ‘Mother Knows’ is evocative of dreams and memories. Brad Mair’s production captures a rich and layered sound, but it’s all about spaces and the broad canvas vocal narratives can be painted upon. As the songs ebb and flow it’s hard not to get swept into its swirling romance. The special ingredient though is the dirt, the grubby guitar tone that buries under your skin. The glistening keyboard stabs on ‘Carmilla’ give it a delightful, new romantic tone but the outro peels away into a wicked, Slash-style guitar solo giving it a dangerous, salacious quality.
GK, the band’s vocalist, has a haunting, sharp voice, like a fractured mirror. Between the powerful choruses of ‘Eve’ or ‘Evergreen’ she leans on “ah” sounds and softly hummed notes to ensnare you in her melodies but always catches you out with her reflections. There is a vampiric undercurrent to ‘Carmilla’ implying sexual tension but it’s more explicit as ‘Mother Knows’ explores the eroticism of a graveyard rendezvous, making it startlingly intense. That said, the whispered, sensual parts and soft moans on ‘Wormfood’ are even more alluring.
Beauty isn’t just in the eye of the beholder, it’s beneath gorgeous soundscapes, inside dirty guitar riffs and is filtered through dark romanticism. ‘To Die As Lovers May’ is an intensely bewitching EP.
IAN KENWORTHY