This is the second album from UK post-rock band Din of Celestial Birds. The three-guitar, (and synths), post-rock approach of Din of Celestial Birds is back, with the 41-minute Takeoffs & Landings. 2023’s The Night Is for Dreamers made a decent splash in post-rock waters, so Takeoffs & Landings comes with a certain amount of … Continue reading “Din of Celestial Birds – Takeoffs & Landings (Review)”
During Wacken Open Air, we got the opportunity to interview the legendary Mick Arnold and Ronnie Simmons of Rose Tattoo about the festival, women in metal, and more.
Benedetta
I’m here with the legendary Rose Tattoo. How are you doing, guys?
Rose Tattoo
Good, thank you.
Benedetta
Thank you so much for taking the time to do this interview with me. So, how does it feel to play at the legendary Wacken Opera on its 35th anniversary?
Rose Tattoo
It feels good. It’s an honour.
Benedetta
And for a legendary band such as yourselves, I guess that it’s even more special to be here. Also because, I’m a new fan of yours, so I can’t wait to see you all on stage.
Rose Tattoo
It’s been great to be a part of the whole thing, you know. 50 years of Rose Tattoo as well. 1976 to 2026 and here we are.
Benedetta
Yeah, definitely. So, since you have such an incredible experience, both with live shows and music recordings, do you think that the life of an artist is lonely?
Rose Tattoo
In a good way. I’d say high highs and low lows. It’s all part of it.
Benedetta
Do you think that in 2026 will we ever get some sort of equality between men and women in metal?
Rose Tattoo
I think it’s easier for women to get a foot in. Yeah, look at bands like Thundermother. They were great. They’re really making waves. They’re a great band. They can rock just as hard as the boys. You know what I mean? Look at all the guitarists that are out there. What’s her name? Oh, Nita Strauss. Yeah, she’s a great guitarist. They can outplay most men. There’s no real issue there.
Benedetta
I know, but isn’t it a bit unfair that, for example, this year at Wacken it’s just all male male bands headlining, like Judas Priest, Def Leppard and so on?
Rose Tattoo
That’s a bit unfair, I think. It’ll come. It’ll turn, yeah. The way I see it is it doesn’t matter what you have between your legs. It’s if you rock or not. I don’t see it as gender. It’s just a matter of just being good, rock hard, play from the heart. Yeah, in the pop side of things, the women dominate. Look at Taylor Swift, Beyonce. Yeah. Yeah, yeah.
Benedetta
So, this AI thing that is going on at the moment, do you think that it will affect the music in such a way that we won’t recognise what is human and what is artificial?
Rose Tattoo
It’ll get lost. But there’s no true emotion. They can emulate it closely, but to nail it 100%, you know, at the moment, I don’t think so. But there’s issues there, you know. You can use it as a tool to help you, you know, say write a song or whatever, but, you know, to rely on it 100%, I don’t think that’s good.
Benedetta
Guys, thank you so much for taking the time to do this interview with me. Do you have anything else to add to our readers?
Iron Maiden legend Bruce Dickinson has offered fans a tantalising insight into his upcoming new solo album, which is expected some time early next year. Speaking to VSX, the singer promises that the follow-up to 2024’s well-received The MandrakeProject will be a heavy affair, though it will in no way be a direct sequel to that album.
‘I’ve got a new record coming out next year, new solo album,” he confirms (as transcribed by Blabbermouth). “It’s kind of standalone. There’s one song that has a bit of something to do with Mandrake. The album is heavy as shit.”
Explaining why he didn’t simply want to churn out a Mandrake Part 2, Bruce continues: “I try to not repeat – not because it’s bad. You want to move on and put different nuances on things. It’s like, I would say, if you have an amazing girlfriend and you start thinking, ‘Yeah, I’m getting a little bit bored’…just turn the lights down and turn it a different way, and you see a side that you think, ‘Oh, my God, she’s absolutely incredible.’ Just the red light there or the green or whatever, and you see the same person in a different day, in a different light.
“Music is something which you try not to stick too much of a format,” he continues. “I’m within a particular style, for sure. But I try and vary it as much as I can.”
The Mandrake Project marked Bruce’s first solo album in almost 20 years following 2005’s Tyranny Of Souls, meaning that he’s operating at a relatively prolific pace as a solo artist right now. That’s on top of Iron Maiden’s ongoing Run For Your Lives world tour, which finished up its latest European leg at a spectacular show at Knebworth in the UK last month, with North American, South and Central American, Asian and Australasian dates still due to take place across the rest of the year.
Ten Cent Tiger are a punchy indie-punk outfit roaring out of Boorloo/Perth. Since forming in 2022, the band has built a fierce local reputation on intricate guitar work, infectious hooks, and raw melodic urgency.
Following their 2024 debut EP, Moments, the band pushed their sonic boundaries in 2025 with the breakout singles “Growing Pains” and “Autophobia.” Balancing high-energy guitar friction with deeply honest lyricism, “Autophobia” captures the frantic anxiety of self-isolation, a cathartic release that earned the band a nomination for WAM Song of the Year.
I love the pace and the mood, no frills and pure energy with a fantastic performance by the band. The guitars are very inspired and the rhythm section is very creative. It’s a super solid tune, straight to the point, energetic and catchy, with a quality production as well.
Give “Autophobia” a go by clicking on the Spotify player below and follow Ten Cent Tiger on social media, if you like what you hear.
The Linda Lindas have shared one of their most crushing tracks to date, which is set to appear on their upcoming album dropping later this month.
Titled ‘Blood On Our Hands’, it is a track that matches its sound to the subject, with lyrical turns around the downright evil way that the world is feeling right now. Not holding back in calling out the injustice and incompetence, it delivers its message via downtuned and devilish hardcore, the sort that would make the likes of Terror nod along in agreement.
It’s the sort of release that showcases just how broad the band’s influence within punk and alternative music stretches, and will have plenty a pit swelling every time it is played live.
Bassist Elouise Wong had this to say about it:
”We’re living in very dark times and it’s really easy to feel hopeless,” says Eloise Wong. “‘Blood On Our Hands’ is about doing what you can, not just on national boycott days and marches, but thinking every day about where your money goes and what you put your money towards, and we have to do our best to support each other.”
The track is set to appear on the band’s new full-length ‘Gotta Get Out’, which will be released on August 28 via Reprise/Warner Records.
It will also feature ‘Closer’, which features a guest appearance from Hayley Williams:
Anyone unconvinced by Greta Van Fleet’s return to action, pay heed, for their return to action has now been augmented by a hard-fought victory in our most recent Tracks Of The Week fracas. This historic triumph is despite the close attention of London’s one-man rock’n’roll phenomenon Cam Cole, who finished second. So congratulations to them. And indeed, to him.
Third place was swallowed up by Hannah Wicklund, so congratulations to her, too. And now? We start again, with eight new candidates lined up to assume legendary status. We hope you enjoy them.
Sweat – Hilary
A loose-limbed, glam-booted banger with highly melodic feet in the camps of Heart and Cheap Trick, the latest single from these Pittsburgh rockers is a joyous thing to ingest. Also a strident calling card for their new album, In Dreams, which comes out in September. “Hilary lands in the sweet spot between glittering glam rock and late-’70s power pop,” the band say. “It’s a loud tribute to the friendships that become lifelines and the people who stay when things get messy, heavy, and uncomfortable — the ones who always show up when it matters most.”
Kris Barras Band – Beautiful Lie
The MMA fighting, blues noodling, hard-rocking singer/guitarist has the black attire and full sleeve tattoos of a metalcore star, but on Beautiful Lie he’s all about the oomphy yet tender hard rock with a moody, melodious heart under all the heavy, riffed-up muscle. Not long now til the release of its parent album, Monsters We Made – in fact, it’s out this week, accompanied by an in-store tour across the UK, with a full headline tour to come in October.
The Bites – Whenever You’re Ready
One of those rock’n’roll party-ready cheesefests whose substance sneaks up on you, Whenever You’re Ready put us in a great mood – it’s merrily, even proudly Route One lyrics (‘son of a gun / on the run’ etc etc) bounding into a warm, swinging pop rock chorus. Simple but effective harmonies complete the picture. Almost McFly-esque, but with more old-school heft. Feeling a little off today? Stick this on, turn it up and get some of those denim-clad Californian sunrays into your soul.
Grace Bowers – Eat Shit And Live
Earlier this year Grace Bowers quit Youtube, stating “I’m deeply uncomfortable with the amount of old men here. I’m no longer interested in playing blues or whatever the hell keeps attracting yall. I’m done.” It was a sad reflection of a certain portion of the online world (even if dismissing the blues itself feels a little reductive), but now she’s back with a bright, snappy bang – singing and playing on this taste of her next chapter. As a singer Bowers has something of a young Gwen Stefani going on, and her guitar chops here are full of punk rock teeth, sort of like the Runaways meeting Tom Morello for a jam.
The Pineapple Thief – New World Order
New World Order is the opening track of the British progressive quartet’s new album, Far And Wide, and it’s a biting, punchy beast with a note of dystopian menace. Still imbued with the moodiness and light, clever touches we expect from them, but packing an extra level of hard-hitting edge that nods to the increasingly big stages and globe-trotting adventures they’ve had in recent years (including successful first South America shows and an expanded US live presence).
Frenzee – Unapologetically Me
Need some proper, no-bullshit punk rock’n’roll with a feminist kick in your life this week? Meet Frenzee, the Greek-Australian siblings with Bikini Kill, Motorhead and Amyl & The Sniffers in their hearts and sweaty gigs written into their DNA (not to mention the marathon traditional Greek folk sets that guitarist Adonis and drummer Nikos cut their teeth in as kids). Unapologetically Me is fast, furious, over in about two and a half minutes and bursting with beefy, riffy fire – a strong showcase for these guys, in other words.
Jack J Hutchinson – Rise Again
Kicking straight in with an absolute ripper of a riff (conjured up one soundcheck), Jack J Hutchinson’s new track finds him channeling his blues-come-southern foundations into a big, upward-punching rocker – laced with the richness and grit of his heroes. “I told my producer Josiah that I wanted to write a track that sounded like a mix between Blackberry Smoke and Led Zep,” Jack explains, “with a melodic chorus like Neil Young’s anthemic rockers.”
Crossbone Skully – Thunder Love feat. Phil Collen
In which Crossbone Skully mainman Tommy Henriksen continues his apparent quest to create music for people who think it’s all been downhill since Def Leppard finished touring Hysteria. There are gang vocals and booming drums and a euphoric chorus and executive production from “Mutt” Lange, and just in case that isn’t enough, Leppard’s very own Phil Collen guests on guitar and backing vocals. Oh, and there’s a girl wearing a Pyromania t-shirt in the video. The Leppard vibe is recreated so perfectly it feels churlish to call out any lack of originality, and besides, we’re enjoying the results too much to complain.
Daniel Sparrow has been writing songs since his teens, refining his craft through years of bands and live stages to capture life’s highs, lows, and everything in between. Now charting a solo path, he blends classic influences with fresh inspiration to forge a sound that feels both nostalgic and modern.
His single, “Virus,” delivers an intense, fast-paced punch packed with infectious guitar grooves and standout vocal performances. Lyrically, the track delivers a dark yet empowering message centered on resistance and truth.
Stream “Virus” on the Spotify player below, and follow Daniel Sparrow to stay updated on future releases.
Flirtations advert, Record Retailer, 29 May 1969, page 21
Originally formed as The Gypsies with three sisters – Betty, Ernestine and Shirley Pearce plus their friend Viola Billups, New York-based The Flirtations were originally brought to England by promoter Roy Tempest in December 1967 for a nationwide tour backed by Dagenham, east London outfit, The Trend.
Betty Pearce had departed before this tour commenced and the trio performed as The Fabulous Marvelettes. Despite the confusion and anger this caused, particularly from club owners who mistakenly believed they were getting the Motown superstars The Marvelettes, the tour was successful enough for the vocal trio to return to Britain in spring 1968 for a second tour, billed again as The Fabulous Marvelettes.
For this second tour, they were once again backed by The Trend, who comprised Norman Cummins (lead guitar/vocals), Pete Cole (bass/vocals), Bob Mather (sax), Cliff Reuter (keyboards) and Frankie Morgan (drums).
This isn’t a complete gig list for this tour
Tour dates:
8 March 1968 – Clockwork Orange, Chester, Cheshire with The Upside Down World (Chester Chronicle)
11 March 1968 – Rawmarsh Baths, Rotherham, South Yorkshire with The Original Drifters backed by The London All-Stars (South Yorkshire and Rotherham Advertiser)
20 March 1968 – Sheffield City Hall, Sheffield, South Yorkshire with The Original Drifters backed by The London All-Stars (Sheffield Star)
After this tour, the trio relocated to Britain and reverted to their original name, The Flirtations, recording prolifically in the late 1960s and early 1970s.
As The Trend was working with other soul artists from mid-1968 onwards, it’s not clear who the backing band was on the gigs below and we’d welcome any further information.
20 April 1968 – Britannia Rowing Club, Nottingham with The Staxmen and King Kat Knyte (Nottingham Evening Post)
11 May 1968 – Britannia Rowing Club, Nottingham with Clyde McPhatter, The Staxmen and Ways and Means (Nottingham Evening Post)
21 June 1968 – Hemel Hempstead Pavilion, Hemel Hempstead, Herts with Chicago Setback and Granny’s Intentions (Hemel Hempstead Evening Post)
12 July 1968 – Marvifab Mayfair, Newcastle upon Tyne, Tyne & Wear with Urge, Coloured Rain and Traine & Mystics (Sunday Sun)
The Widnes Weekly News, 19 July 1968, page 22, has a picture and a spread on the trio
Photo: Melody Maker, July 1968
27 July 1968 – El Grotto, Ilford, east London (Redbridge & Ilford Recorder)
15 August 1968 – Royal Pier Pavilion, Southampton, Hants (Southern Daily Echo)
22 August 1968 – Locarno Ballroom, Bristol (Bristol Evening Post)
23 August 1968 – Locarno, Derby (Derby Evening Telegraph)
24 August 1968 – Imperial, Nelson, Lancashire with Doctor Marigold’s Prescription, The Smythe Brothers, The Index Trend and Pancake Tuesday (Lancashire Telegraph)
29 August 1968 – Assembly Hall, Worthing, West Sussex (Worthing Herald)
The Derby Evening Telegraph, 31 August 1968, page 4, has a pic and spread on them
31 August 1968 – Civic Hall, Dunstable, Bedfordshire with Clyde McPhatter (Luton Evening Post)
1 September 1968 – Giant Bank Holiday Rave All Nighter, Mojo Festival, Queen’s Hall, Leeds, West Yorkshire with Ben E King and Clyde McPhatter, The Fantastics, Tim Rose and The Time Box (Huddersfield Daily Examiner)
12 September 1968 – Cedar Club, Birmingham with Soul Show & The Phoenix City Truth (Birmingham Evening Mail)
12 September 1968 – Locarno Ballroom, Bristol (Bristol Evening Post)
13 October 1968 – The Place, Hanley, Staffordshire (Evening Sentinel)
14 October 1968 – Club Cedar, Birmingham with The Soul Show (backing group), The Third Stone from the Sun (Birmingham Evening Mail)
18 October 1968 – Odeon Taunton, Taunton, Somerset with Dave Dee, Dozy, Beaky, Mick and Tich, About Face, Dr Marigold’s Prescription, Justins Timepiece, The Santianos and The Vertical Movement (Western Daily Press)
2 November 1968 – Wakefield Theatre Club, Wakefield, West Yorkshire with Johnnie Ray, Audrey Jeans and Jackie Farn (Huddersfield Daily Examiner)
11 November 1968 – Cragburn Ballroom, Cragburn, Scotland with Marmalade and The Verge (Greenock Telegraph and Clyde Shipping Gazette)
27-28 December 1968 – Annabel, Sunderland (Newcastle Evening Chronicle)
29 December 1968 – The Place, Hanley, Staffordshire (Evening Sentinel)
11 January 1969 – Music Hall, Shrewsbury, Shropshire with Jasson Hertz and Shady Lane (North Shropshire Journal)
1 February 1969 – Market Hall, Haverfordwest, west Wales with Nightime Pipeline and Night Before (Pembroke & West Wales Guardian)
8 February 1969 – Civic Hall, Nantwich, Cheshire with The Jaytree Organisation (Evening Sentinel)
29 March 1969 – Royal Links Pavilion, Cromer, Norfolk with Blue Ulysses and Sleepy Talk (Eastern Evening News)
5 April 1969 – Town House, Wellington, Shropshire with Seeburg Discotheque (North Shropshire Journal)
12 April 1969 – New Century Hall, Manchester with The Government, Pete Doyle, Rag Dolls and Peter Lee (Manchester Evening News & Chronicle)
The Runcorn Weekly News, 17 April 1969, page 12, has a story on the band
10 May 1969 – Music Hall, Shrewsbury, Shropshire with The Swing Ensemble (North Shropshire Journal)
The Grimsby Evening Telegraph 24 May 1969, page 6, has a pic and story on the trio
We’d like to hear from anyone who can provide more information in the comments section below
