Category: news

A jury trial in the civil lawsuit brought against Marilyn Manson by his former personal assistant, Ashley Walters, has been scheduled for November 15, 2027. The date was set at a hearing on Wednesday, August 12, and initially reported by Rolling Stone. Walters first filed the suit in 2021, alleging sexual assault, sexual harassment, sexual battery and infliction of emotional distress relating to 2010 and 2011, when she worked for him. Manson denies all of it. His attorney Howard King says the case won’t reach a courtroom at all.

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Scott Penfold walks through the Marilyn Manson trial date on today’s Metal Breakdown Daily — what the November 2027 date actually means, why it took five years to get one, and what the defence is filing next. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.

Five years of the case going nowhere

The reason this is news — rather than just another date on a docket — is how long it took to get here.

Walters filed in 2021, during the wave of civil claims brought against Manson by multiple women. The case was then dismissed and reinstated more than once, and the sticking point every time was the statute of limitations rather than the substance of the allegations.

It was revived most recently in January 2026, after California passed AB 250 — legislation that opened a temporary window for adult survivors of alleged sexual abuse to bring claims that would otherwise be time-barred. In June, a judge denied Manson’s latest attempt to have the case thrown out.

Now there’s a jury date. November 15, 2027.

What his lawyer said

Howard King, Manson’s attorney, didn’t hedge. He said they’re confident the case will “never get to trial” once the court hears their upcoming motion for summary judgment.

That’s the next real moment in this. A summary judgment motion asks a judge to decide the case without a jury on the grounds that there’s no genuine factual dispute to try. If it succeeds, the November 2027 date evaporates. If it fails, this actually goes in front of twelve people.

So the trial date is real but conditional. Anyone reporting today that Manson is definitely standing trial next fall is getting ahead of the process.

Also Recommended – The Antichrist Superstar’s Legacy: Every Marilyn Manson Album Ranked From Worst To Best

Where everything else stands

Worth laying out plainly, because this has been running for five years and the threads get tangled.

Manson settled with actress Esmé Bianco in January 2023, and with an unidentified accuser in September of the same year. A separate claim from Ashley Morgan Smithline was withdrawn, with Smithline recanting and saying she’d been manipulated into making the allegations. A suit filed by Bianca Allaine Kyne in 2024, alleging incidents in the 1990s, appears to still be live.

And critically: the LA District Attorney’s office declined to file criminal charges in January 2025, after a four-year investigation. DA Nathan J. Hochman stated that the domestic violence allegations fell outside the statute of limitations and that his office could not prove sexual assault charges beyond a reasonable doubt.

That’s the distinction that gets flattened in a lot of coverage. Criminal charges were declined. Civil litigation continues, under a far lower standard of proof, and that’s what November 2027 is about.

Manson has publicly denied the allegations throughout and has countersued several of his accusers.

The timing

Here are the calendar facts, and readers can do what they like with them.

The trial date landed on Wednesday. On Friday, August 14, Manson releases One Assassination Under God – Chapter 2 via Nuclear Blast — his thirteenth album. Six days after that, on August 20, the Freaks On Parade tour with Rob Zombie opens in West Palm Beach, with The HU and Orgy supporting. There are also two Antichrist Superstar 30th anniversary shows booked at The Wiltern for Halloween and November 1.

That’s an album, a co-headline arena run, and a legacy anniversary victory lap, all inside a fortnight, with a jury date now sitting on the horizon fifteen months out.

Whatever you make of the man, that’s the situation he’s walking into on Friday.

Check This Out – The Irrevocable Legacy of MARILYN MANSON: From Antichrist Superstar to Legal Reckoning

TL;DR

• The date: November 15, 2027, set at an August 12, 2026 hearing.
• The case: a civil suit filed by Ashley Walters, Manson’s former personal assistant, alleging sexual assault, harassment, battery and infliction of emotional distress during her 2010–2011 employment.
• Why it took five years: repeated dismissals and reinstatements over the statute of limitations. It was revived in January 2026 under California’s AB 250.
• The defence position: attorney Howard King says a forthcoming summary judgment motion will stop the case before trial.
• Criminal side: the LA DA declined to file charges in January 2025, citing the statute of limitations and insufficient evidence to prove sexual assault beyond a reasonable doubt.
• Manson’s position: he denies all allegations and has countersued several accusers.

FAQ

Fifteen months out from a jury date, with an album landing Friday and a tour starting next week. Keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Marilyn Manson Now Has A Trial Date, And His Lawyer Says It Will Never Happen appeared first on Loaded Radio.

I’ve recently decided to devote more attention to self-released projects. Some of the most interesting metal exists far outside the usual channels, grinding away in the shadows while willing listeners dig beneath the surface for uncut gems. Saskatchewan, Canada’s Destroy My Brains has been doing exactly that since its 2017 self-titled debut, following it with 2017’s Worthless EP and three additional full-lengths: InsignifiCan’t, Lifeless and Tormented. Together, the initials of those releases spell “Wilt,” which is the title of Destroy My Brains’ fifth album. Wilt brings a nine-year creative arc full circle and promises to be as rife with hate, desperation, and hunger as the Wendigo on the cover.¹ Are you ready to get your brains destroyed?²

Wilt quickly establishes itself as a far more vicious beast than its predecessors. Where earlier releases wielded a Crowbar to bludgeon listeners, Wilt is less interested in forcing its way through the back door than going straight for the jugular with an unrelenting assault. Opener “OCI (Obsessive Compulsive Imploder)” evokes the cavernous heaviness of Conan, particularly through Jarret Beach’s acidic, piercing vocal shrieks, while breakdowns, filthy chords, and blast beats blur the line between sludge and death metal. Jadan Paluck’s drumming drives much of Destroy My Brains’ sound, with his tight tom work and frenetic rhythms on cuts like “Wilt,” “Decontribute”³ and “Avulsion” standing apart from sludge’s customary thunder. His performance injects a distinct edge and fuels much of the album’s aggression as the guitars alternate between doomy crawls and groove-laden chugs. The hardcore influence of Snapcase (“Burn the Virgin”) and the corrosive sludge of Buzzov•en (“Downgrade”) also leave their mark, adding some variety to Destroy My Brains’ abrasive and confrontational approach.

Wilt succeeds in plowing you over with unequivocal hate and hostility for close to an hour, but several tracks sprawl beyond what their ideas can support. Relying on extended intros and lengthy runtimes that test patience, tracks like “Decontribute,” “Burn the Virgin,” and “Avulsion” lock into muscular grooves built on churning riffs and crusty chords that deliver some of the record’s most memorable hooks. However, much like the rest of the record, these songs demonstrate that Destroy My Brains is capable of delivering the goods when operating with discipline, but too often allows its strongest material to drift beyond its natural limits. Wilt’s excess reaches its zenith on the self-titled fourteen-minute closer, which again contains worthwhile ideas but lacks the focus necessary to justify its length. “OCI (Obsessive Compulsive Imploder)” and “Downgrade” are the only tracks that run less than seven minutes and, while more succinct, I found myself distracted by the uneven production, which emphasizes Paluck’s drumming and Beach’s shouts more than anything else.

Production woes have historically challenged Destroy My Brains, and Wilt is no different. Though clearly improved from past efforts, Wilt’s production still turns many of the album’s assets into distractions. It captures the performances well, but the mix often feels unbalanced and dominated by an overbearing bass drum that pushes the guitars further into the background than they should be while overwhelming everything else. This is immediately apparent on “OCI (Obsessive Compulsive Imploder)” which tests the resilience of one’s speakers with its pounding double-bass. As Wilt progresses, its production issues become increasingly difficult to ignore, with late tracks “Spill” and “Downgrade” sounding noticeably rougher than the songs preceding them and Beach’s shrieks becoming tiresome. Speaking of which, Beach’s vocals will undoubtedly be Wilt’s most divisive element. His vitriolic delivery is equal parts vicious and intensely grating, particularly as he spits venom about heavy subjects like trauma, abuse, psychological collapse, and obsessive-compulsive disorder.

Destroy My Brains certainly has potential, and there is some good material to be found here. The performances are sound, yet Wilt suffers from many of the same maladies that plagued past releases, with bloat and production woes consistently rearing their ugly heads throughout the album. While these are common growing pains for bands, Destroy My Brains has now had five albums to course correct and is still working out kinks. Wilt is an album I sadly won’t pick back up for future listens, though I’ll be curious to see where their path leads next.

Rating: Mixed
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: destroymybrains.bandcamp.com | facebook.com/DMBdestroymybrains
Releases Worldwide: August 14th, 2026

The post Destroy My Brains – Wilt Review appeared first on Angry Metal Guy.

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Cherry Red [Release date : 21.08.26] The unquenchable flame that is Tokyo Blade is about to release its 14th studio album in a career lasting the best part of 50 years. Hows that for durability? Hoist The Colours High is … Continue reading →

The post Album review : TOKYO BLADE – Hoist The Colours High appeared first on Get Ready to ROCK!.

It has been a voyage. A trip of a lifetime to Toronto. For me, a lifelong Rush fan, this was something that I had never expected. In October 2025, the announcement that Alex and Geddy were intending to go back on the road with their 50-Something tour set the proverbial cat amongst the pigeons.

Rush – Toronto 2026

Scotiabank Arena, Toronto – 11/13 August 2026

Words And Photography: Paul Hutchings

Like many European fans, 2015’s R40 North American tour was observed with the expectation of a UK/Euro tour to follow. It was the blueprint for the band for many years. And then it ended. Abruptly. Unedifying. Bereft? Absolutely.

Scroll forward five years, and we lost Neil Peart. Heartache for so many, yet an understanding that the great man, the lyrical engine of the band, had so little time with his family before his untimely passing. We could feel nothing but guilt that our expectation ate into his precious final years with his family. That R40 Euro tour that never was? The annoyance had faded.

The Time Stand Still DVD release made it clear that those final dates were the last. My only regret? That I had not headed across the pond to catch one of those last shows.

But back to October 2025. A few dates. Seven cities of Gold. The scramble for tickets. Golden tickets indeed. I bagged a brace for the two hometown shows in Toronto. Possibly the best shows to be at, apart from the opening duo in LA.

And then more dates added. Should I have added to my haul? Too late.

Flights and hotels booked. Mrs H, a willing companion. We go big. Business class flights, phenomenal hotel in the centre of the city. A true trip of a lifetime. 

There are add-ons. RushFest Canada. Rush Day at Henderson Brewery Co. The inevitable haul of merchandise, which is extensive. Not to mention food and the odd beverage. 

We land at YYZ a couple of days ahead of the first show. Time to explore a city that holds double the population of my country. The sheer size is incredible. Skyscrapers everywhere, towering above us. 30-50 stories high. The city is amazing. The folks are friendly. Service brilliant. Food fantastic.

We spend our first full evening above the city, dinner at the revolving dining room at the CN Tower. What an experience, and great food too. Thursday sees us head to the El Mocambo. Home of live albums by Stevie Ray Vaughan, Elvis Costello and Blondie. The venue is steeped in history.

Rush fans assemble. Three smashing live sets, a glorious acoustic show from Jacob Moon and Q&A with Hugh Symes, Terry Brown and Neil’s sisters, Judy and Nancy. A raffle, beers, merchandise. And fans from across the globe. Watching my wife spend half an hour chatting with Judy without any clue who she was will live with me forever. 

Friday. Show one. We meet up with Gerry and Steve from the fantastic Something For Nothing podcast. A couple of other fans join us before we head to Scotiabank Arena. It is time. 14,000 souls packed into what are very small seats. But the excitement is rich. You could cut it with a knife.

The intro video plays. Where’s Rush featuring our friends from the interview back in June. And then Toronto erupts. Xanadu is imperious. Alex and Geddy are shrouded in mist as they wield their double necks. It is hairs on the back of the neck time. Introductions amidst an ovation that rolls throughout the evening.

Rush fans are loud tonight as Limelight follows. We sing along, air drumming by virtually every other person, much to Mrs H’s amusement. It is sublime, even if the sound in the upper level is a bit muddy.

By the time we get to Headlong Flight, the arena is ready to explode. The first set ends with a rip-roaring The Spirit Of Radio. Geddy sounds brilliant. His vocals on Freewill amazing. The first Neil tribute works fantastically well. Are those tears or something in the eye? You must be there to experience it. 

The second set begins with a dystopian countdown clock that races to 2112. The arena goes nuts as the band smash through three parts of their legendary song. The sound has improved, and the experience gets even better. The band sound powerful, the smiles on stage heart-warming.

Anika is just superb, and each roll or fill gets a rich roar from the audience. Her performance on YYZ and Tom Sawyer sees the adulation escalate further. With Loren Gold adding layers to backing vocals and keys, this is Rush unleashed. Geddy is bouncing around the stage, Alex’s playing magnificent. 

The second Neil tribute comes. Another beautifully curated montage of pictures, video and narration. It leads into Time Stand Still, and we get another treat. Aimee Mann joins the band on stage to add those iconic vocals. Wow!

Red Barchetta sees Rush hitting the harder edge of their sound, Alex throws in a screaming lead burst. Suddenly we are at the encores. Tom Sawyer, complete with the Lil Rush intro, is followed by By-Tor. The whole arena is on its feet as we are transported to 1975 and Fly By Night once more.

Then the finale. A massive Working Man, which sees the band expend every ounce. Breathlessly, we leave the arena. Overjoyed at this night, the sheer intensity, the spectacle of the screens and lighting, and above all, the performance of the band.

There is no let-up, though. The following day we are off to Henderson’s Brewery for Rush Day. The fourth one to be held. It is scorchingly hot. Just the weather to spend five hours in a car park. But the Rush beer is cold, the fans from across the world engaging and interesting, and the guests also catch the ear.

Stories from Bruce ‘Frenchie’ French, the band’s chef, and Tony ‘Jack Secret’ Gernaios, long-term keyboard tech, are among those who tell compelling anecdotes. It is a real treat to attend, and we leave contentedly, albeit many Canadian dollars lighter. 

It is showtime again, and the second night at Scotiabank Arena not only exceeds Friday night, it blows it out of the water. An early dinner in the Scotia Club overlooking the arena makes for a leisurely and highly recommended start. No queuing in the heat this time around. We take our seats in good time, slightly more central this time. No issues with the sound, the show is spectacular and the set list even better in many respects.

The band are on even better form, relaxed and smiling from the start. But the difference tonight is the crowd. It is electric, with roars of approval from the opening Xanadu to the final notes of Working Man, which sees the latest in the Anika comedy moments. 

The Spirit Of Radio comes early. It is THE song to get the crowd bouncing, and bounce they do. We get a superb The Analog Kid, The Trees and Caravan, the latter with ample pyro. The tributes to Neil are the same but no less heartfelt, and the audience is beautifully respectful.

Leave That Thing Alone kicks out the jams, Geddy in sparkling form. And then Set two. The clock hits 2112, and the band roll into the entire song. All 20+ minutes of it. It is magnificent, with Alex hitting peak guitar god status.

Closer To The Heart and Anthem roll back the years. It is loud, it is defiant, just amazing. The inclusion of Witch Hunt makes my evening. Tom Sawyer closes the main set before the encore. It’s on-your-feet time as we race into the John Rutsey tribute.

Finding My Way and Working Man take us back to the debut, and I spend moments just absorbing something I never thought I would ever see. Rush in their backyard. It is the lyrics to Time Stand Still that are most relevant. Freeze this moment a little bit longer, indeed. 

It has been an incredible trip. We top it with Niagara Falls by helicopter and boat. That might not be on the cards at Glasgow in March, but the excitement that I felt will surely be even more heightened then.

And after these two shows, time cannot pass quickly enough.