Category: news

  • Judas Priest get an almighty homecoming as they close out Bloodstock Festival 2026

    You Got Another Thing Comin’, Metal Gods, Breaking The Law: talk about an insane opening run. But then, when it comes to Judas Priest, you’d be hard-pressed to find any combination of hits that doesn’t feel like an all-time great selection of heavy metal anthems. So who better to close out the final day of Bloodstock’s 25th anniversary celebration?

    “25 years of Bloodstock? 100 years of Judas fucking Priest!” Frontman Rob Halford declares to massive cheers.

    Barely 20 miles up the road from where he grew up in Walsall, Bloodstock is as close to home territory for Halford as you can get without Priest doing a gig at Bescot Stadium and there’s a clear sense of gratitude as Priest get a homecoming for the ages. Early on, Rob sports a leather jacket with the Black Country flag proudly displayed on the back, and their ties to the region seep through in little nods and easter eggs that pop up in the graphics.

    And this setlist is an absolute beast. With a greatest hits to promote, it’s not a massive surprise that Priest are cranking anthems out at industrial pace throughout the night – The Ripper, The Sentinel, Turbo Lover, Victim Of Changes. It’s perhaps not as adventurous as what they broke out at Bloodstock 2021, but it’s splitting hairs trying to figure out what you’d take out to round it out. Steeler for Exciter? Desert Plains for Judas Rising? Six of one, half a dozen of the other.

    Far from slowing down in their winter years, Judas Priest seem to be picking up steam. Rob Halford confirms the band are working on new material – a delightful concept, considering just how fantastic their last two records were – and there’s barely any pause in the set, even the encore – teeing a colossal finisher of Electric Eye, Hell Bent For Leather (complete with Harley ride-on, of course) and Living After Midnight – only taking a minute or two before the band charge back on.

    In many ways, Priest are representative of what Bloodstock was all about in its early years – and still continues to be about now, even with the evolving roster of bands. This is, after all, a celebration of heavy metal in its entirety, a chance for bands who’d get relegated to the sidelines at more mainstream festivals to strut their stuff in front of an ardent and ever-enthusiastic audience.

    With Priest covering much of their half-century-plus as one of heavy metal’s most iconic bands, there’s a real sense of celebration that makes it almost impossible not to grin like a loon and roar along to your heart’s content.

    Judas Priest setlist @ Bloodstock Open Air, 9/8/2026

    1. You’ve Got Another Thing Comin’
    2. Metal Gods
    3. Breaking The Law
    4. The Ripper
    5. The Sentinel
    6. Desert Plains
    7. Lightning Strike
    8. Turbo Lover
    9. Steeler
    10. Delivering The Goods
    11. Panic Attack
    12. Victim Of Changes
    13. Halls Of Valhalla
    14. Painkiller
    15. Electric Eye
    16. Hell Bent For Leather
    17. Living After Midnight
  • DS Book Club: “It Starts with Anger: A Punk Beginning. An AFROPUNK Ending” by James Spooner

    I’ve always been attracted to biographies, whether it’s someone I’m familiar with or not. A few years back, I read James Spooner’s High Desert and fell in love with a story about finding punk rock that felt similar to mine yet completely different. Disappointed that it was cut short before his move to New York City, I hoped that it wasn’t the end of Spooner sharing his punk rock past. Thankfully, it’s not, with the release of his comic and prose hybrid, It Starts With Anger: A Punk Beginning and Afropunk Ending. Here, Spooner takes us on the journey of what punk means to him and how this definition evolved his ethos in regard to his identity, politics, and DIY approach to art and community-building.

    It Starts With Anger… is broken up into two parts. Spooner starts by jumping straight into his punk rock past by giving a quick summary of his slice-of-life punk rock comic, The High Desert. It’s been a minute since I’ve read it, so I don’t remember if it’s a summary or a story that may have been left out, but it links these pieces of work together well. Eventually Spooner makes it to a pre-Giuliani New York City. It’s here that he is accepted into the LaGuardia School of the Arts and starts to navigate the punk rock shows he had gotten a taste of during summer visits to his dad’s place. 

    What I like most about this story is that Spooner’s experiences in punk rock are easily relatable. He presents the punk rock he experienced in his youth for all to see, legitimizing the attempts a punk rock kid made. While there are moments that feel like crash courses on punk rock that he weaves seamlessly to enhance the story. Along with moments of honesty about the shitty behavior and hypocritical stances that came with punk, even when the bad behavior is his own. It’s not necessarily a baptism by fire, but looking back, it’s not hard to figure out how to do the right thing even if you have a mohawk, especially when it comes to racism, sexism, and homophobia. 

    Spooner reconciles some of the problematic issues of early punk bands, such as lyrics written by favorite bands he was a fan of when he first got into punk rock. His contextualizing of lyrics for songs like the Ramones “Loud Mouth”, The Descendents “Sour Grapes”, and Minor Threat’s “Guilty of Being White” doesn’t excuse the bands, but highlights that these exist. It’s one of the many cracks that Spooner points out in punk rock. The crux of It Starts With Anger: A Punk Beginning and Afropunk Ending is Spooner processing what it means to be a POC in the local punk rock scene. Sadly, many people believe that punk rock is solely white music, which is definitely far from true. Most of these beliefs are shaped by Spooner’s experience in the NY hardcore scene and love for bands who should have been able to play with more of the prominent bands of the era, but didn’t due to the color of their skin. 

    Part two pivots to Spooner’s sort of post-punk era after being disillusioned with the genre. He travels the country in some sort of punk rock odyssey for a few years until he settles into the NYC club and art scene doing DJ sets at dance parties. Yet, he becomes disillusioned when he is portrayed based on his race and how people would exploit him as being a “safe black.” A black individual who is perceived as non-threatening by non-Black peers. A term he uses critically and not self-descriptively. This continued disappointment sends Spooner on a quest to start documenting other black punks around the country who may feel like him. The baby steps to making the Afro-Punk documentary and then using the lessons of punk rock to get it shown to people, but even that comes with a headache when he accepts an offer to grow Afropunk as a brand. 

    James Spooner’s It Starts With Anger: A Punk Beginning and An Afropunk Ending is one of my favorite books in a year where I’ve read a ton of really good books about punk rock and dissecting the scene itself. Spooner’s not the first person to hybridize comics and prose, but his panels-and-paragraphs approach to an autobiography is well done, but does lean heavier in prose. I like hearing a good story about a person finding their thing, and it gets double points for crossing over with my interests (punk). While parts of his story didn’t turn out the way he wanted, it seems that Spooner has made the best of his situation and came out a better person for it. It’s relatable, gives perspective, and overall tells a compelling story that is still being written. 

  • Jethro Tull Extends Ongoing ‘Curious Ruminant’ Tour Into 2027

    Their updated slate now extends through February, marking more than a year on the road. Continue reading…
  • Nikki Sixx Says Mötley Crüe Are Done Making Albums Because Nobody Listens Past The First Song Anyway

    motley-crue-2027

    Nikki Sixx has effectively closed the door on a new Mötley Crüe album. Speaking to Joann Butler in an interview published by Louder on August 9, the band’s bassist and chief songwriter said he doesn’t believe in making full-length records anymore — the workload doesn’t justify it, and listeners only hear one song off a record regardless. Mötley Crüe’s last studio album, Saints Of Los Angeles, came out in 2008. That’s eighteen years ago, and by Sixx’s own logic, the number isn’t going to stop climbing.

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    Scott Penfold breaks down the Nikki Sixx album bombshell on today’s Metal Breakdown Daily — why the math he’s using actually adds up, why it still stings coming from the guy who wrote Shout At The Devil, and what it says about where hard rock is heading. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.

    The math Nikki is doing

    Sixx’s argument isn’t emotional. It’s arithmetic, and honestly, it’s hard to poke holes in.

    To get ten songs on a record, he says, you have to write twenty. Then you’d better hope five of them are actually great. That’s a mountain of lyrics, chord changes, notes, and studio hours — none of which he complains about, for the record. He’s very clear that the work itself is the job and the band works hard.

    What bothers him is what happens afterward. You write twenty songs, you demo ten, you release ten, and the audience hears one. That’s the part he can’t get past.

    So his preference now is what he calls lightning strikes. Something happens — heartbreak, joy, rebellion — he calls the guys, they write it, they cut it, it goes out. No twelve-month album cycle. No fourteen songs nobody streams.

    He points to two precedents. The five songs the band cut for The Dirt, and the three-song “Cancelled” EP from 2024, which was the first Crüe release featuring John 5 after he replaced Mick Mars. That’s the model going forward. Whenever something hits, they’ll record it.

    Radio’s changed, he says. Streaming keeps changing. He’s adapting.

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    Here’s the problem with that

    He’s right. That’s the annoying part.

    Everything Sixx just described is a completely accurate read of the modern music business. Album tracks four through eleven really do get skipped. The streaming economy really does reward singles. Nobody in 2026 is arguing that the traditional album cycle is a healthy investment for a legacy band with a catalog people already love.

    But there’s something a little deflating about hearing this particular argument from this particular guy.

    Because Nikki Sixx didn’t build his legend on singles. He built it on Shout At The Devil and Dr. Feelgood — records that were experiences, that you lived inside for forty-odd minutes, that had a shape and a sequence and a personality. Those weren’t twelve songs and a hit. They were statements. The whole reason a band like Mötley Crüe still fills stadiums in 2026 is that they made things worth committing to.

    The lightning-strike model produces songs. It doesn’t produce Dr. Feelgood.

    And when a band this size opts out of album-making, it signals to every act underneath them that the format is finished. That’s the part that actually matters here — not whether we get a tenth Crüe record, but what happens to the idea of the album when the guys who perfected it stop bothering.

    He’s earned the right to work however he wants. He’s been doing this for forty-five years and he doesn’t owe anybody a concept record. I just wish he wanted to make one.

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    motley-crue-nikki-sixx

    Where this leaves the Crüe

    For anyone keeping score: nine studio albums, the most recent in 2008. One EP in 2024. John 5 on guitar. Mick Mars gone from the lineup and, at last check, not on speaking terms with the band.

    What they do have is the live business, and that’s still enormous. Mötley Crüe have a substantial North American run lined up for next summer, reported as the Carnival Of Sins tour with Tesla and Extreme along for the ride.

    Which is really the answer to all of this. The album isn’t the product anymore. The show is. Sixx figured that out before most of his peers, and this interview is just him saying the quiet part into a microphone.

    It’s not the first time he’s been blunt about aging in this business either — he’s gone after rock stars still acting twenty-five and fired back hard at Godsmack’s Shannon Larkin over backing-track accusations earlier this year. The man says what he thinks. Sometimes that’s a gift. Sometimes it’s this.

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    TL;DR

    • What he said: Nikki Sixx no longer believes in making full-length albums, and told Louder that fans hoping for a new Mötley Crüe record shouldn’t hold their breath.
    • His reasoning: ten songs requires writing twenty, and listeners only hear one of them anyway. He’d rather cut songs as inspiration hits.
    • How long it’s been: Saints Of Los Angeles, the band’s ninth album, came out in 2008 — eighteen years ago.
    • What they’ve done since: five songs for The Dirt, and the three-track “Cancelled” EP in 2024, John 5’s first release with the band.
    • What’s actually coming: a large North American tour next summer, reported as Carnival Of Sins with Tesla and Extreme.

    Frequently Asked Questions

    Is Mötley Crüe making a new album?

    Almost certainly not. In an interview published by Louder on August 9, 2026, Nikki Sixx said he doesn’t believe in making full-length records anymore and told fans hoping for a new Mötley Crüe album not to hold their breath. The band’s plan going forward is to release individual songs and short EPs whenever inspiration strikes, rather than committing to a full album cycle.

    When was the last Mötley Crüe album?

    Saints Of Los Angeles, the band’s ninth studio album, was released in 2008 — eighteen years ago. Since then the band has released five songs for The Dirt soundtrack and the three-track “Cancelled” EP in 2024.

    Why doesn’t Nikki Sixx want to make albums anymore?

    He says the effort doesn’t match the payoff. To release ten songs, a band has to write around twenty and hope five are genuinely great — an enormous amount of writing, studio time and money for a record where, in his experience, most listeners only ever hear a single track. He also cites the changes in radio and streaming, and says he prefers writing and recording songs as moments hit.

    Who is in Mötley Crüe now?

    Nikki Sixx on bass, Vince Neil on vocals, Tommy Lee on drums and John 5 on guitar. John 5 joined in 2022 after founding guitarist Mick Mars stepped away from touring due to health issues, and made his recorded debut with the band on the 2024 “Cancelled” EP.

    Are Mötley Crüe touring in 2027?

    Yes. The band has a large North American run lined up for next summer, reported as the Carnival Of Sins tour with Tesla and Extreme as support. Dates and venues are being rolled out ahead of the run.

    Nikki’s not wrong about the business — but the man who made Dr. Feelgood telling you the album is over still lands like a punch. Where do you sit on it? Drop a comment and let us know. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

    The post Nikki Sixx Says Mötley Crüe Are Done Making Albums Because Nobody Listens Past The First Song Anyway appeared first on Loaded Radio.

  • SUZI QUATRO Announces Australian Tour

    Suzi Quatro has announced an Australian tour.
  • Listening Now : Michael Antelope – Bridge Over My Head

    Michael Antelope deliver a beautifully understated folk song with Bridge Over My Head, blending intricate acoustic guitar, intimate harmonies, and quietly powerful storytelling. Beneath its tender surface lies a deeply bittersweet exploration of loving someone who ultimately causes emotional harm. The bridge becomes a striking metaphor for comfort turning into confinement, reflecting the complicated pull between feeling safe and feeling trapped. Recorded with an organic live-off-the-floor approach, the performance retains an effortless warmth and human quality, while the understated bass adds emotional depth. Gentle, vulnerable, and quietly devastating, Bridge Over My Head leaves a lasting impression.

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  • Temple of Dread – Dreadspawn Dominion Review

    Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

    One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

    According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

    At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

    Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.


    Rating: 3.0/5.0
    DR: 6 | Format Reviewed: 320 kbps mp3
    Label: Testimony Records
    Websites: Bandcamp | Facebook | Instagram
    Releases Worldwide: August 7th, 2026

    The post Temple of Dread – Dreadspawn Dominion Review appeared first on Angry Metal Guy.

  • STAND ATLANTIC Announce Australian Tour

    Stand Atlantic have just announced an Australian tour.
  • Nur noch bis Sonntag – Schnappt euch euer HARDER-TICKET!

    Metalheads!

    Damit alle die faire Chance haben, sich ein HARDER-TICKET zu sichern, haben wir diese Ticketkategorie für insgesamt zwei Wochen verfügbar gemacht oder solange der Vorrat reicht.

    Die erste Woche des Vorverkaufs liegt bereits hinter uns. Jetzt bleiben euch noch knapp sieben Tage, um euch Tickets aus der letzten vergünstigten Ticketkategorie zu schnappen und obendrein 666 The Core Wacken Points mitzunehmen. Am Sonntag, den 16.07. um Mitternacht schließt sich die Pforte.

    Danach ist dann das LOUDER-TICKET als letzte reguläre Ticketkategorie weiter erhältlich. 

    Also wartet nicht zu lange und sichert euch euer HARDER-TICKET, bevor sie alle vergriffen sind!

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    Euer
    W:O:A Team

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  • Ch’ahom – To Release ‘Anthropic Rites Of Sublimation’ LP

    On September 18th, German black/death metal purveyors Ch’ahom will put out their sophomore record dubbed Anthropic Rites Of Sublimation. Comprised of 5 new tracks, it was recorded and mixed by Ch’ahom. Mastered by Dan Lowndes at Resonance Sound Studio. To taste a first piece of the new music, give a listen to the opening track called “Cult Of Xaman”.
    Read more…