Category: news

5 Seconds of Summer have announced that they are releasing an EP under their nightclub-ready alias CLUBSOS, and have shared a new taster of it.

‘CLUBSOS EP Vol. 1’ will be released on October 30, and can be pre-saved right here.

And with that news comes the release of a new version of ‘NOT OK’, which originally appeared on last year’s ‘Everyone’s a Star’.

Taking the audacious attitude of the orginal and throwing a bit wobbly garage beat in for good measure, it is a completely new side to everything that 5 Seconds Of Summer has ever been defined by. And, most importantly, it works.

Whatever else is set to come on this ambitious EP is going to be a party, to say the least.

Until the EP’s release, there’s a couple more tasters for you to get moving to.

Here is ‘EVOLVE’:

And here is ‘EVERYONE’S A STAR’:

The post 5 Seconds Of Summer Unleash Thrilling CLUBSOS Version Of ‘NOT OK’ appeared first on Rock Sound.

Metal Breakdown Daily is one page, every weekday: the episode on the player below and the three stories in print, so you can listen, read, or both. Today leads with the Mastodon bone dust vinyl: a Bone Dust Edition of Marrow Deep with fragments of 11,000-year-old mastodon fossil pressed into the wax, 170 copies at $150, available only by raffle because that’s how much ground-up mastodon tooth the band had.

Also today: broadcast-quality audio of Black Sabbath’s lost 1970 Dutch TV set, which the broadcaster said was destroyed in a fire, has surfaced and is being pressed as The Lost 1970 Avro Sessions, and Metallica add ‘Until It Sleeps’ at their fourth Sphere show, the fourth show in a row with a song the room hadn’t heard yet.

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Scott Penfold opens today’s Metal Breakdown Daily with the bag of mastodon teeth that became a $150 record, then the Black Sabbath tapes a broadcaster swore had burned, Metallica’s fourth new song in four Sphere nights, and a Take on which kind of scarcity is actually worth your money. Download the free Loaded Radio App on Apple iOS and Google Play and stream the show now.

Mastodon: 170 Copies Of Marrow Deep With Real Mastodon Fossil In The Vinyl

Mastodon and Loma Vista are releasing a Bone Dust Edition of Marrow Deep, a double LP with powdered mastodon fossil pressed into the record, limited to 170 copies at $150 and sold only through a raffle that ships to the US, Canada and Mexico.

The band’s own account: ‘About 20 years ago, we were given a giant bag of mastodon teeth.’ They weren’t display pieces, just fragments, and they sat in a box for two decades until Troy Sanders suggested grinding them down and putting them in the record itself. A geologist from the University of Georgia sprinkled the dust into the wax before pressing, with Waxworks doing the manufacturing. Each copy comes with a certificate of authenticity. Sanders’s pitch: ‘How cool is it to juxtapose something with 11,000 year old fossils with a modern 2026 Mastodon record?’

The number is the honest part. Loma Vista says 170 ‘due to the finite quantity of bone dust available’, which is the first time in years a limited edition has been limited by anything other than a sales forecast. Entering the raffle doesn’t guarantee a purchase; winners get the chance to buy.

Marrow Deep, released in August, is the band’s ninth album and the first made after the split with, and then the death of, founding guitarist Brent Hinds, and it’s already arguing for a high spot in the Mastodon catalogue ranked. The vinyl gag is pure Mastodon: a band named after a dead animal, from the state whose sludge lineage runs through them even if the Atlanta boys never lived in New Orleans, finally putting the animal in the product. A decade of ‘limited to however many we can sell’ pressings, and the one that’s real came from the bass player, not the marketing department.

Black Sabbath: The 1970 Dutch TV Tapes The Broadcaster Said Burned

Full audio of a 40-minute Black Sabbath performance recorded in spring 1970 for the Dutch TV show Doebidoe in Hilversum, long believed destroyed in a fire at broadcaster AVRO, has surfaced and is being pressed by an unofficial German label as The Lost 1970 Avro Sessions, limited to 666 copies.

The session happened about three months after the debut album came out, for Nederland 1’s Doebidoe, the show that preceded Top Pop. The band played extended versions of the first record, including a ‘The Wizard’ with lyrics that differ from the album and a live ‘Warning’, a song that rarely made setlists. They also mimed ‘Evil Woman’ for the cameras. Three days later they were on Beat-Club in Germany doing ‘Black Sabbath’, ‘Iron Man’ and ‘N.I.B.’, footage the show put on its YouTube channel earlier this year.

The Dutch tape was supposed to be gone. For over a decade the only trace was a silent twenty-second clip of ‘N.I.B.’ that appeared on YouTube in 2013. Now the live audio is circulating on YouTube and the Internet Archive in broadcast quality, and a label called Avertigro, a mash-up of Vertigo and AVRO, has pressed it. The 666 copies may already be spoken for.

A week after we covered the last Sabbath studio album that died in an email, here’s the opposite: a recording nobody planned to keep that refused to disappear. Ozzy was 21. The band was four months into being famous, and the debut was still being treated as a novelty record by critics who’d rank it near the top today. Sabbath have a long history of sessions that went wrong in interesting ways; this is one that went right and got lost anyway. It shouldn’t take a bootleg label in Germany to put it out. Somebody who holds the rights should be on the phone to Holland today.

Metallica: ‘Until It Sleeps’ Joins The Sphere Setlist At Show Four

Metallica played ‘Until It Sleeps’, the gold-certified lead single from 1996’s Load, for the first time at the Sphere during their fourth show in Las Vegas on October 10, continuing a run in which every night of the residency so far has introduced a song the venue hadn’t heard.

The tally: night one, October 1, brought back ‘…And Justice For All’ for the first time in twelve years, the song whose original mix famously buried its bass. Night two, October 3, was the deep-cut night, ‘Devil’s Dance’ for the first time in about eighteen years and ‘The Outlaw Torn’ for the first time in seven, with ‘Blackened’, ‘Fuel’ and ‘Leper Messiah’ opening. Night three gave ‘Fade To Black’ its Sphere debut. Night four, ‘Until It Sleeps’.

The band is rotating two set templates so each weekend pair doesn’t repeat, with a new addition dropped into every show. Twenty remain: October 15 and 17, then every week through November 7, then January 28 through March 13. Twenty-four in all when it’s done, the longest run that building has given a heavy band.

The Sphere’s problem for performers is that the room is the headliner. U2 found that out, Phish found that out, and the next band booked for a Vegas residency is sending avatars. Metallica’s answer is to make the setlist the headliner instead. One new song a night, in a band whose frontman still rewrites the set by hand, is how you get forty-year fans to fly to Vegas twice in the same month.

The Take: Scarcity Is The Product, And Only One Kind Is Worth The Money

Three stories, one number each: 170, 666 and one song a night. Scarcity is what’s being sold this week, and only one version of it is worth real money.

The case against all of it is fair. Rarity is a pricing strategy. A $150 record with fossil dust in it is still a record you can stream for free. A bootleg of 666 copies is a bootleg, and the surviving members of Black Sabbath see nothing from it. And a band changing one song a night at the Sphere has found a way to sell you Saturday after you bought Thursday.

But there’s a difference between scarcity you can hold and scarcity you have to be present for. The Mastodon record is a brilliant object, and it will live on a shelf. The Sabbath tape is a gift, and it’ll be on YouTube long after the vinyl is gone. The Metallica version is the only one where the rare thing is music happening in front of you. ‘Devil’s Dance’ for the first time since 2008, in a room the size of a small moon, is not a collectible. It’s the reason any of us started going to shows.

So: enter the raffle, download the tape so you can hear Sabbath at 21, and if you’re spending real money on scarcity this year, spend it on a flight to Las Vegas. The only edition that matters is the one you were in the room for.

TL;DR

• Mastodon’s Bone Dust Edition of Marrow Deep presses powdered 11,000-year-old mastodon fossil into the vinyl: 170 copies, $150, raffle only through Loma Vista, shipping to the US, Canada and Mexico.
• Audio of Black Sabbath’s 40-minute 1970 Dutch TV set, which broadcaster AVRO said burned, has surfaced and is being pressed unofficially as The Lost 1970 Avro Sessions, 666 copies; it’s also on YouTube and the Internet Archive.
• Metallica added ‘Until It Sleeps’ at Sphere show four on October 10, after ‘…And Justice For All’, ‘Devil’s Dance’, ‘The Outlaw Torn’ and ‘Fade To Black’ at the first three; twenty shows remain through March 13.
• The Take: scarcity is the product this week, and the only kind worth paying for is the kind you have to be in the room for.

FAQ

Metal Breakdown Daily is Loaded Radio’s weekday news show: three stories, one opinion, under five minutes, with a new episode every weekday on the free Loaded Radio app for Apple iOS and Google Play. Follow Loaded Radio so you never miss one.

The post Metal Breakdown Daily: A Bag Of Mastodon Teeth Becomes A $150 Record, Sabbath’s Lost Dutch TV Set Surfaces, And Metallica Change The Sphere Setlist Again appeared first on Loaded Radio.

Frontiers [Release date: 30.10.26] Here’s an unlikely coupling. Tommy Thayer KISS guitarist since 2002 and Dan Reed from Dan Reed Network. The common denominator seems to be their geographic origins: Portland, Oregon. To these ears it’s like another Dan Reed … Continue reading →

The post Album review: SHOGUN MOJO appeared first on Get Ready to ROCK!.

It’s been great to see Social Distortion return since Mike Ness’s bout with tonsil cancer. The band’s notorious reputation for taking long breaks between records and tours left a lot of us with our tails between our legs after learning what Ness was dealing with. The results of that wait have been spectacular. Their latest record, Born to Kill, is their strongest in years, and this tour is nothing short of great.

Mike Ness and crew have been on the road with the Descendents and the Chats for a couple of months now. Although this tour was halted due to doctor’s orders for Mike Ness, they were able to trudge on for the last few dates. Their final stop was Gallagher Square next to Petco Park in San Diego, which is essentially located on the front side of the stadium, turning the stage into a standing-only, amphitheater-style venue for shows you can consider big but not stadium-sized. This definitely fits that bill.

Initially not scheduled, The Chats from Queensland, Australia, were the opening band for the entire tour, but they also probably suffered the most during the tour in regard to canceled shows. A few months back, I spoke with Descendents drummer Bill Stevenson; he was intimidated to have to follow The Chats because of how good they are live. I understand why. Their relentless, high-energy songs definitely harken back to a sound closer to the era in which the Descendents and Social Distortion cut their teeth. Plowing through about fifteen songs, the band made good use of their thirty minutes and probably gained some fans in the process. I’m sure it’s hard to get a band from Australia out to the States, so check them out when they do come back. 

I’ve reached a point where I feel the older bands I grew up listening to never put on a bad set. I’m more disappointed if they miss songs I wanted to hear. With the Descendents, that’s inevitable even when they get extra time with a headlining set. It becomes a game of what gets cut so you can hear this song instead. That being said, the band played a set that was a good mix of their discography. It is interesting to see how the set has evolved since their return to the stage, as they have replaced their self-titled track with Everything Sucks as their opening song.

It is weird to see songs like “Good Good Things” slide their way into the set, even if it’s somewhat influenced by Drain’s cover. It’s heartening to see the band embrace their shorter songs like “Der Weinerschnitzel”, “My Dad Sucks”, and “I Wanna Be a Bear.” Driving down to San Diego, passing the San Onofre’s Nuclear Station had me hoping we would hear “Kids (On Coffee),” but alas, no mention of the nuclear tits. We still got some songs I hadn’t heard played live, like “I’m Not a Punk”, and a few tracks off Everything Sucks, which celebrated thirty years this last September. The band continues to do amazing things in this phase. If you have yet to see the Descendents, what are you waiting for?

Mike Ness admitted that, while he wasn’t 100%, he still wanted to put on a show for us, and he did. Opening with the former closing song “Ring of Fire” pumped up the mostly older crowd. From the back of the venue, you could see where the kids were based on the patch of crowd close to the front of the stage that formed a small pit off to the side a bit. While we got some deepish cuts from the band, such as White Light, White Heat, White Trash’s “Untitled,” and early track “Lude Boy,” there were a lot of staples missing from the set, noticeably “Another State of Mind,” “I Was Wrong,” and “Ball and Chain.” However, in the case of “Ball and Chain,” I believe it was cut as Ness’s voice started to give out. While this gave a great opportunity for a sing-along of “Prison Bound,” it was definitely missed along with any songs from Somewhere Between Heaven and Hell.

Closing the night with “Don’t Drag Me Down,” Mike Ness made a speech about the band always being anti-racist, how our country was founded by immigrants, and the disappointment that comes along with people who see otherwise. It came off mostly well, with the exception of one lady who was yelling at people outside of the venue as we all left. Overall, it was a great night. As some of these other bands start to hang up their mics and instruments, it’s good to see two of my favorites still at it and taking the newer generation on the road.

Posted on October 12th 2026, 12:32pm