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Kissin‘ .

The post Kissin’ Dynamite to release double live album ‘The Big Goodbye – Live’ first appeared on Sleaze Roxx.

A great concert trip starts well before the first song, especially when the show takes you to another city. Transport delays, unfamiliar stations, and restrictive venue rules can all eat into the fun if they catch you unprepared. A practical plan gives you more time to explore, enjoy a proper meal and arrive at the venue feeling ready for the night ahead.

Planning Your Journey to the Show

Start with the fixed details: the concert date, advertised door time and venue address. Check whether the venue has more than one entrance, as the correct stop for the main doors may differ from the stop nearest the building. Then work backwards from the time you want to join the queue, allowing at least 30 minutes for local delays.

If you’re travelling to another city, compare rail, coach and flight arrival times alongside the full cost. A cheap fare can lose its appeal when it requires an expensive airport transfer or leaves you stranded after the encore.

Pay close attention to luggage. Many venues limit bag size and some accept only very small bags, so arriving with a suitcase can create an immediate problem. If Munich is part of your itinerary, pre-booked luggage storage at Munich Hauptbahnhof can give you a practical place to leave your cases near the central station while you explore or wait for the show.

Save your booking confirmations offline and take screenshots of the venue address, ticket barcode and return timetable. Mobile data can be unreliable in a crowd, while a flat battery shouldn’t stop you from finding your platform or proving that you have a reservation.

Navigating Public Transport Stress-Free

Check the venue’s official travel page first, followed by the local transport operator’s journey planner. Search for planned engineering work, replacement services and station closures on both your arrival day and the morning after the concert. Major events can also lead to temporary road restrictions or altered bus stops.

Choose a route that includes one sensible backup. For example, if the quickest option uses a tram from the main station, identify a nearby underground route or work out the walking time in advance. You don’t need to memorise the whole network. You only need to know how to reach the venue and how to return if your preferred service changes.

Concert travel has a wider impact too. The REVERB concert travel study examines how audience transport contributes significantly to the environmental footprint of live events. Trains, coaches and shared local transport can reduce that impact while removing the cost and hassle of city-centre parking.

Allow more time after the show than you think you’ll need. Thousands of people may head towards the same station at once; ticket machines can develop queues, and some entrances may close for crowd control. Buy any necessary return ticket before the concert if local rules allow it.

Keep the name of your accommodation and its full address in your phone, written in the local language where relevant. If you miss the final service, you’ll have the details ready for a licensed taxi or a recognised ride-booking service without trying to remember them in a noisy crowd.

What to Do Before the Doors Open

An early arrival gives you options, but standing outside the venue for four hours rarely makes the best use of your day. Look for a café, gallery, park or shopping street within a short walk of the entrance. Staying nearby means you can enjoy the destination without repeatedly crossing the city.

Eat a proper meal two or three hours before the advertised start. Venue food can be limited, expensive or difficult to eat in a packed standing area. Choose something familiar that will keep you comfortable through the support act and main set, then carry a refillable bottle only if the venue permits empty bottles inside.

Use this time to check the latest message from the organiser. Door times, entrance allocations and support schedules sometimes change on the day. Treat the show as the anchor for the trip while leaving room around it for meals and local activities.

If you have a reserved seat, arriving 45 to 60 minutes before the main performance is often comfortable, though the venue’s advice should take priority. General admission may call for an earlier queue, particularly if your position matters to you. Check whether there is a separate line for ticket collection, accessible entry or cloakroom services before joining the biggest crowd.

Finally, agree on a meeting point with your companions. Pick a fixed landmark outside the busiest area, such as a hotel entrance or named station exit. Messages can arrive late when thousands of phones connect to the same network.

Post-Concert Plans Made Easy

The end of the show creates one of the busiest parts of the trip. Toilets, cloakrooms, exits and nearby stations can all fill at the same time. Decide beforehand if you need to leave promptly for the last train or can wait 20 minutes for the crowd to thin.

Check the scheduled finish time, but treat it as an estimate. Support sets can run late, and encores vary, so avoid booking a connection that depends on leaving at an exact minute. If the final direct train departs shortly after the expected finish, research an earlier exit route and a later indirect service before committing to that plan.

For overnight trips, choose accommodation that works after dark as well as during the day. A room beside a suburban station may look convenient on a map, but the last local connection could leave before the concert ends.

Set a spending limit for the journey home. Surge pricing, unexpected taxi fares and late-night food can add a noticeable amount to the total cost. Keeping a small reserve separate from your daytime budget makes those expenses easier to handle.

If you’re travelling with friends, confirm that everyone has reached the meeting point before moving on. Don’t assume the group will naturally reform outside. Crowds often split at security barriers, different exits or station gates.

Packing Smart for an Eventful Day

Pack according to the venue’s rules, not the length of your trip. A compact cross-body bag may be accepted where a standard backpack isn’t, while larger items may need to remain at your accommodation or a storage point. Read the prohibited-items page carefully and measure your bag at home if the venue publishes maximum dimensions.

Your event-day essentials should fit into a short checklist:

• Phone with the ticket saved offline
• Compact power bank and charging cable
• Payment card plus a small amount of local currency
• Photo identification if required by the ticket terms
• Earplugs designed for live music
• Any personal medication in its original packaging
• Lightweight outer layer suitable for the forecast

Wear shoes that can cope with station corridors, queues and several hours on your feet. Check the weather for both the afternoon and late evening, since temperatures can fall sharply while you’re inside. A thin waterproof layer usually packs more easily than a bulky coat, though every item still needs to comply with the venue policy.

Keep travel documents separate from items you’ll use frequently. Reaching for lip balm shouldn’t put your passport or rail ticket at risk. If you’re worried about misplacing luggage or other important belongings during the trip, there are also some surprisingly practical AirTag uses that can help you keep track of items while travelling. If you’re staying overnight, prepare a second bag for your accommodation and take only the event essentials to the show.

Before leaving your hotel, café or storage location, run through three things: ticket, phone and route home. Building a few smart travel habits into your routine, such as checking transport times, keeping essentials easy to reach, and allowing extra time for delays, can make the final stretch to the venue much less stressful.

The post Maximize Your Concert Trip: Travel Smart, Experience More appeared first on Sonic Perspectives.

There is a peculiar efficiency to a system that keeps us furious and distracted at the same time. Give the public an endless supply of things to watch, opinions to absorb, and strangers to argue with, and attention becomes a resource everyone can exploit except its owner. The daily spectacle makes being informed feel suspiciously similar to being exhausted. Somewhere between the next advertisement and the next catastrophe, we begin mistaking our participation in the feed for participation in the world. Power can afford to speak softly when everyone else is busy shouting silently into an iPhone.

New York and Atlanta duo Normal Bias examine that arrangement with Soft Power, their first new material since 2024’s Kingdom Come. The partnership of Matt Weiner, known for TWINS (That Which Is Not Said), and Chris Campion of Multiple Man returns with a seductive piece of electronic pop and a wonderfully peculiar video. The single offers the first taste of their forthcoming LP, Ways of Keeping Clean, due in 2027 via DKA Records.

Soft Power takes its time establishing the terms. Anxious, boxy synth shuffles move through the opening, their cramped little repetitions creating an itch beneath the surface. When the deep, bouncy EBM bassline enters, the arrangement acquires a deliciously elastic physicality, its low end giving those nervous electronic gestures something substantial to push against. Weiner sings with smooth, insinuating assurance, somewhere between Dave Gahan’s seductive allure and Frank Tovey’s sly theatricality. He sounds thoroughly at ease inside the song’s machinery, giving each phrase the persuasive intimacy of a proposition made at close quarters.

Campion complicates that invitation with a choir of eerie, horn-like synthesizers and warbling distortions, allowing strange shapes to swell around the vocals. There is a wonderful sense of mischief in the way the parts interact, with the bass maintaining its bounce while the upper registers grow increasingly disorienting. The track goes toe-to-toe with Cabaret Voltaire at their most pop-minded, recalling the point where their electronic experiments became improbably irresistible songs. It has the thrill of an extraordinary record discovered among a box of 1980s underground imports, the kind that makes you wonder how you managed to live without it. Normal Bias are one of the best synth-pop acts in the world right now, and Soft Power makes a persuasive case for that distinction.

The duo describes the song as a confrontation with “the numbing effects of propagandized multimedia addiction”, connecting compulsive media consumption with the destructive conduct it enables among leaders and institutions. That concern gives the music’s seductive ease an uncomfortable implication: an invitation can be difficult to question when it feels this good.

Directed by Logan Devlin and Normal Bias, the video places the pair inside an animated desert where perspective, anatomy, and time have become negotiable. Floating heads trail curved piano keyboards; purple doors open onto impossible spaces; metallic figures run across dunes beneath a yellow-orange sky. Weiner performs beside Campion on a checkerboard floor, looking remarkably composed for someone surrounded by this much visual misconduct. Clocks bend, faces fragment, and the image periodically breaks into analog interference. It suggests Salvador Dalí being given the controls of an early computer graphics workstation, with two exceptionally well-dressed musicians patiently waiting for him to finish. John Manfredi shot the video, with 3D animation support from Alex Gorman-Noelke.

Watch the video for Soft Power below:

From the industrial body funk of their 2022 self-titled EP to the melodic assurance of Kingdom Come, Normal Bias have developed an unusually deft relationship between electronic oddity and pop pleasure. Their debut LP earned a place in Post-Punk.com’s Best of 2024, while videos for Falling Down and Holy established a visual sensibility every bit as distinctive as their music.

Soft Power (Radio Edit) is available now on Spotify and Apple Music. Listen below:

Normal Bias are wrapping up their October tour with Spike Hellis, with the remaining dates taking them through California. The Sacramento show also features Buzz Kull and Kontravoid, while a November 6 appearance at TV Eye in Ridgewood will pair the duo with MVTANT and Pink Stiletto. See their remaining tour dates and forthcoming show below.

Remaining October dates, including tonight’s show:

• October 14 — Arcata, CA — Miniplex — with Spike Hellis and The Redroom DJs.
• October 15 — Sacramento, CA — The Starlet Room — with Spike Hellis, Buzz Kull, and Kontravoid.
• October 16 — Oakland, CA — Thee Stork Club — with Spike Hellis, Pink Stiletto, and DJ Hot Goth GF.
• October 17 — Oxnard, CA — The Mystery Shop — with Spike Hellis, Ceramik, and Pink Depression.

Also announced:

• November 6 — Ridgewood, NY — TV Eye — with MVTANT and Pink Stiletto.

And while you wait for Ways of Keeping Clean, revisit Kingdom Come, available through DKA and SYNTHICIDE. Purchase the album here.

Follow Normal Bias:

• Instagram
• Bandcamp
• Spotify

The post Synthpop Duo Normal Bias Confront Propaganda and Media Addiction in Their Surreal Video for “Soft Power” appeared first on Post-Punk.com.

In the wake of US rapper Macklemore’s controversial removal from Ed Sheeran’s stadium tour following an onstage speech highlighting the plight of Palestinians affected by the conflict in Gaza, many musicians have felt obliged to make their own positions clear.

For some, this has meant declaring their own shows agenda-free zones, where political and social issues are never discussed onstage. And earlier this week, Metallica’s James Hetfield went viral for seeming to suggest that his band were mere entertainers, and that politics would play no part in their shows.

“Unless you live in Vegas, you’ve come a long way to spend some time with Metallica,” he told the crowd at the fourth of Metallica’s Life Burns Faster shows at Sphere in Las Vegas. “We’re grateful for that – your travels, the money you spend, the time it took. Thanks for coming to celebrate with us.”

“And I just gotta say, Metallica is not here, like some other entertainers, to influence you with their bullshit, OK? We are here, no bullshit. We’re here to forget about all the outside shit, OK?”

Now, a similar clip of Mötley Crüe‘s Nikki Sixx has gone viral.

“It does not matter to Mötley Crüe if you’re a Republican. It does not matter to Mötley Crüe if you’re a Democrat,” Sixx says. “It doesn’t matter if you’re gay or if you’re straight or if you’re going right down the fucking centre of the lane of life cause we’re all in this together. Can we agree?”

It’s not clear when the clip was filmed, but Crüe finished their Return of the Carnival of Sins tour last month, and he delivered an almost identical speech in Charlotte, NC, in August.

“It doesn’t really matter if you’re a Republican or a Democrat, or if you’re gay or if you’re straight,” Sixx told the crowd at the Truliant Amphitheater. “It really doesn’t matter to us. All that really matters to us is that we’re all here together. Can we just start unifying the fucking world together? Can we do that?”

Sixx has said in the past that artists should be free to say whatever they like on social media as long as they keep their shows politics-free, while Crüe drummer Tommy Lee frequently uses X and other platforms to voice his opposition to US President Donald Trump.

“We have our beliefs, and inside of our own camp it’s not 100% all one way or another,” Sixx told NME in 2016. “We don’t really feel it’s necessarily something you want to stop in the middle of a rock show and say.”

“I’ve been quite vocal on my socials – I’m also very sarcastic most of the time, so I think people know where I stand, but, in America especially, we’re very divided. To have a fan feel that they have to choose their music because of the person they voted for, that is not fair to the music.”

Sixx’s sentiments were echoed by Rolling Stones‘ frontman Mick Jagger in July, during an episode of The New York Times’ podcast, The Interview.

“The bottom line is that my job in the live music world is to [make sure] people that come have the best time they possibly can,” he said. “And for two hours, forget all their problems and the problems of the world, their mortgages and whatever. Just so they can have the best time.

“Your job is to make them go more apeshit,” he continued. “You don’t want to lecture them.”

Nikki Sixx joins Metallica, says Motley Crue doesn’t care about your politics. https://t.co/g5LY6M0kMMOctober 14, 2026

REVIEW BY DAVID TAYLOR AND PHOTOS BY ROBERT A CHADWICK | Go Venue Magazine

It was a chilly night in downtown Lincoln as Godsmack made their return to Lincoln, NE after nearly twenty years to play Pinnacle Bank Arena. Despite it being a work/school night, people showed up to see one of the most legendary hard rock acts of the last thirty years.

Dorothy from Los Angeles was the direct support on the bill. They played pure, unadulterated rock n’ roll. Led by Dorothy Martin, who had such a soulful voice, they would fit perfectly with the rock bands in the 70s if they were around then. Guitarist Nick Peri’s guitar solos felt like songs in their own way, just very melodic and full of passion. I wouldn’t assume they would be a right support act for Godsmack, but they fit right in nicely. They had an album that came out last year titled, The Way.

Godsmack from Boston was ready to perform to the masses at PBA. This felt like Godsmack 2.0 in the best way possible, bringing in new blood into the band while maintaining that Godsmack sound. They have a new guitar player, Sam Koltun, and what a shredder he was. This kid is for sure bringing in some of that youthful energy to these musical veterans. And then you have Mike Mangini behind the kit and if that name sounds familiar, he was the drummer for Dream Theater for a while from 2010 to 2023. He, also from Massachusetts, gave a great performance behind the kit, very technical and felt like he had been with them for a while, but he has joined the band on the road since June of this year. Sully Erna was very blunt, saying he wasn’t having a good day, but powered through and the audience was very receptive to him. Before “Something’s Wrong” he asked the ladies to get on their date’s shoulders, which was a little tough as the whole floor was all seats. But they managed to pull off without injury. Sully Erna still sings like the record live and continues to have that energy of wanting to entertain the audience on stage. They kicked off their set with some recent songs like “Generation Day” and “You and I”, but then you got hit with old school Godsmack like “Awake” and “Keep Away”. The band was tight, rhythmically. Their production was superb, bringing these lasers out and a giant video screen showing their music videos and crazy visuals. A showstopper of the night was “Under Your Scars” with Sully Erna saying how important it is to take care of your mental health and help others if they’re down, as well as a tribute to the legends that we’ve lost along the way. The show ended with a ripping version of “I Stand Alone”. If you’ve been a Godsmack fan from the late 90s or you joined in like the early to mid 2010s, you weren’t disappointed. It sounds like new Godsmack is coming hopefully soon after they wrap up this tour, so be sure to be on the lookout for that.

Godsmack

[See image gallery at www.govenuemagazine.com]

Dorothy

[See image gallery at www.govenuemagazine.com] All images © Robert A Chadwick | Robert Chadwick Photography

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The post Concert Review: Godsmack’s “The Rise of Rock” World Tour, featuring Dorothy, Rocked the Pinnacle Bank Arena appeared first on Go Venue Magazine.

For a band with an album called Mizantrop, She Past Away keep a remarkably busy social calendar. The Turkish darkwave mainstays have announced a June 2027 tour of the United States and Mexico, bringing their latest record across the Atlantic with an expanded live lineup and a brand new video show.

The duo—Volkan Caner (vocals, guitar, songwriting) and Doruk Öztürkcan (drums, synths, production)—will be joined by a live bassist, giving North American audiences their first chance to experience She Past Away as a trio. The addition of another musician marks an evolution in a stage presentation whose economy has long been part of its appeal, while new visuals promise a fresh setting for the band’s severe electronic rhythms and distinctive guitar melodies.

The eight-date run begins on June 1 at Boston’s Royale and continues through Brooklyn, Chicago, Denver, Seattle, San Francisco, and Los Angeles before concluding on June 16 at Mexico City’s Auditorio Blackberry. The Denver appearance takes place at Ritual Noize Fest on June 6. Tickets go on sale Friday, October 16, 2026.

Released earlier this year, Mizantrop is She Past Away’s fourth studio album and their first since 2019’s Disko Anksiyete. Its seven songs extend the band’s stark aesthetic through carefully measured arrangements, dense electronic textures, and Caner’s unmistakable guitar work. LP and CD editions are available now through Metropolis Records, alongside titles from the band’s back catalogue. Order here.

As we noted in our earlier coverage of Mizantrop, the title track broadens She Past Away’s darkwave sound with a stronger French coldwave influence, its guitar melody moving through minor chords that recall Asylum Party and Mary Goes Round. That musical restraint gives shape to a song about disillusionment and the exhaustion of being judged for it. Volkan Caner sings from the perspective of someone who finds little encouragement in the world around him, whose pessimism and withdrawal have made him an object of ridicule. The labels addressed in the lyrics are the personal judgments others attach to his outlook, reducing his disappointment with humanity to an undesirable character trait. His repeated declaration, “Believe me, I don’t care,” becomes a means of protecting himself from those judgments, drawing a boundary around how much influence other people’s opinions can have over his life.

İnziva, whose title translates as “seclusion” or “retreat,” considers the emotional cost of withdrawing from the world. Its lyrics contemplate an uneasy bargain: abandoning the pursuit of happiness might also free someone from sorrow and fear, but the prospect of endless loneliness accompanies that release. The video gives this desire for escape a suitably disturbing setting. Directed by Nedda Afsari and Michael E. Linn of Muted Widows, and produced by Michael Zumaya, the film follows Brooks Ginnan through slanted corridors and distorted rooms, carrying a mysterious glowing egg past figures embodying greed, lust, and disease. Drawing on the exaggerated gestures and unsettling architecture of German Expressionist silent cinema, particularly The Cabinet of Dr. Caligari, these encounters make the surrounding world appear increasingly hostile. Within that setting, the song’s retreat into solitude begins to feel like an understandable response to human company, even as the film offers little reassurance that escape will bring peace.

Watch the videos for Mizantrop and İnziva below:

Listen to Mizantrop in full below and order the album here.

Formed in Bursa, Turkey, in 2006, She Past Away have built an international following around Turkish-language songs that connect post-punk guitar, gothic restraint, and electronic precision. Their 2020 remix collection X, marking ten years since their debut EP, brought together reworks by Boy Harsher, The Soft Moon, Clan of Xymox, Front 242, and Lebanon Hanover, among others. Years of touring have made that international kinship tangible; next June, the band will return with another pair of hands onstage and a different way of presenting the songs.

She Past Away — Mizantrop Tour 2027:

• June 1 — Boston, MA — Royale — Tickets
• June 2 — Brooklyn, NY — Brooklyn Steel — Tickets
• June 4 — Chicago, IL — Metro — Tickets
• June 6 — Denver, CO — Ritual Noize Fest
• June 9 — Seattle, WA — The Showbox — Tickets
• June 11 — San Francisco, CA — The Regency Ballroom — Tickets
• June 12 — Los Angeles, CA — The Wiltern — Tickets
• June 16 — Mexico City, Mexico — Auditorio Blackberry

Follow She Past Away:

• Official Website
• Facebook
• Instagram
• Bandcamp
• YouTube
• Spotify

The post She Past Away Announces 2027 North American “Mizantrop” Tour with Expanded Live Lineup appeared first on Post-Punk.com.

Today, Swedish heavy metal goliaths RAM present their video for “Against,” the title track of their latest full-length, out now on Metal Blade Records.

The title track was written in a burst of inspiration, driven by a personal sense of facing overwhelming opposition; a David And Goliath scenario. This intense emotional energy fueled a rapid writing process, resulting in one of the album’s most direct and powerful statements.

Comments vocalist Oscar Carlquist, “‘Against’ is a real belter of a track, super old school. This is not your fresh 2026 MacBook metal; this is straight from the gutter. The lyrics are pure defiance, a tale about not backing down.”

Watch RAM’s “Against” video HERE.

Watch RAM’s previously released video for “Abattoir” HERE, “Ghost Emperor” HERE, and “Night Blade”HERE.

While RAM’s previously released The Throne Within full-length was defined by its spiritual and metaphysical themes, Against takes a more grounded approach, focusing on the experience of being pushed beyond reasonable limits and refusing to comply. The album captures that moment of resistance, “that fire of defiance, which ultimately defines its title and message,” as the band collectively states.

Musically, guitarists Harry Granroth and Martin Jonsson continue to favor bridge pickups, maintaining a sharp and aggressive tone. The equipment used on Against reflects a classic approach, contributing to a sound that feels both timeless and direct. Sonically, 

Against was conceived as a return to classic recording philosophies. Drawing inspiration from the early works of Dio, MSG, and Sweet, the goal was to create an honest and unpolished sound. In a music landscape increasingly divided into countless subgenres, the band positions itself deliberately outside of categorization.

One of the most noticeable aspects of Against is its concise songwriting. Where earlier work may have leaned toward complexity, this album embraces clarity and precision. This evolution reflects a broader maturation, with the Swedes recognizing that restraint and focus can be more impactful than technical display. 

Ultimately, Against stands as a statement of intent, a reaffirmation of identity and purpose. Or, as they put it themselves: “Fear the return of the Heavy Metal Tyranny!”

RAM’s Against full-length is out now on CD and digital formats as well as vinyl in the following color variants:

180g Black
Clear Lilac Marbled
Purple Melt (Ltd. 300)
Crystal Clear Blackdust (Ltd. 300)
Silver Black Splatter (Ltd. 250)

Preview/purchase Against at: metalblade.com/ram.

Against – Track Listing:

1. Obsession

2. Ghost Emperor

3. One Vs. All

4. Abattoir

5. Out of Control

6. Leaving

7. Against

8. Night Blade

9. Rising Again

10. 1984

11. The Final Hour

RAM Live:
12/04/2026 Spectrum – Murcia, ES
12/05/2026 Peter Rock – Valencia, ES
12/06/2026 Upload – Barcelona, ES
12/07/2026 Urban – Vitoria, ES
3/12-13/2027 Heavy Metal Thunder Fest – Pisek, CZ
4/08/2027 Don´t Panic – Essen, DE
5/20-22/2027 Iron Fest – Ohmbachsee, DE

RAM Recording Lineup:
Oscar Carlquist – vocals
Morgan Pettersson – drums
Harry Granroth – guitar
Martin Jonsson – guitar
Tobias Petterson – bass

RAM Live Lineup:
Oscar Carlquist – vocals
Morgan Pettersson – drums
Harry Granroth – guitar
Martin Jonsson – guitar
Desekrator – bass

https://ram-metal.com

https://www.facebook.com/RAMheavymetal

https://www.instagram.com/RAMheavymetal

https://www.metalblade.com

Source: EARSPLIT PR

Deux Visages share another vulnerable and crushing dreampop single, Pixelate, alongside its video. The track “highlights the changes in people you’ve known for a long time and disappointment within them. The name is a nod to the lyrical theme of the person being a vague image of who you once knew,” reveals vocalist Daphney Hanono. […]

https://www.metalourgio.com/wp-content/uploads/2026/10/AETHERIAN-PHOTO-1-768×512.jpg

The new album arrives October 30 via Relapse Records

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