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Nikki Sixx has addressed Mötley Crüe’s use of backing tracks during a fan question-and-answer session on X. The bassist confirmed the band does use tracks, explaining that they took the idea from Queen’s use of tape during “Bohemian Rhapsody” and use them to add elements they cannot reproduce onstage, such as orchestras and saxophones. Sixx maintained that the band performs 100% live and that the tracks are synced to what the musicians are playing.

Asked by another fan why the band doesn’t play entirely live, Sixx replied that they do, and that anyone who told them otherwise lied to them. The comments follow years of accusations, circulating fan footage, and a 2023 lawsuit by founding guitarist Mick Mars alleging Sixx played no live bass on the 2022 stadium tour — a claim an arbitrator rejected in full in January 2026.

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On today’s Metal Breakdown Daily, Scott Penfold breaks down the backing track argument properly — the distinction everybody shouts past, the fifty-year-old precedent Sixx is leaning on, and the one small piece of evidence that does more work than any denial. Download the free Loaded Radio App on Apple iOS and Google Play and take the show with you.

Let’s do this one properly, because it’s been argued badly for about four years.

What Sixx Actually Said

First, the thing most coverage today will get wrong.

Nikki Sixx did not deny using backing tracks. He confirmed it, in detail, unprompted.

Asked by a fan on X why the band uses them, he explained that the idea came from watching Queen use tape during “Bohemian Rhapsody.” That showed them they could bring in elements they physically cannot perform live — orchestras, saxophones and the like — and sync those to what the band is actually playing. His position is that the band plays 100% live, that this lets them deliver onstage what they made in the studio, and that it’s better for fans.

Then a second fan pushed harder, asking why the Crüe don’t play entirely live.

Sixx’s answer was four words. They do. You were lied to.

So there are two separate claims here, and if you don’t split them the argument goes nowhere:

• Do Mötley Crüe use backing tracks? Yes. Confirmed. Never really in dispute.
• Do the members play their instruments live? That’s the actual fight.

The Distinction Everyone Argues Past

Here’s the thing that turns this from a shouting match into an actual question.

There is a real difference between augmentation and replacement.

Augmentation is a 53-piece orchestra you cannot put on a tour bus. It’s gang vocals recorded by twenty people in a studio. It’s a siren, an intro sting, a keyboard pad. Every arena act on earth does some version of this, and has for half a century.

Replacement is different. Replacement is a musician standing onstage while a recording of that same musician plays underneath them, doing the work.

Sixx and John 5 are both claiming augmentation. Mars alleged replacement. Those are not the same accusation and they don’t have the same answer — which is why online arguments about it never resolve. Two people shouting past each other about different things.

The Queen Precedent Is Real, And It’s Older Than You Think

Worth confirming, because Sixx’s reference isn’t a dodge.

Queen have used tape for the operatic section of “Bohemian Rhapsody” since 1975. It isn’t a shortcut and it isn’t a scandal — that passage has something like 180 overdubbed vocal tracks on it. Four people cannot sing it. The band’s solution live was to leave the stage, let the tape run, and come back for the heavy section.

Nobody has ever accused Queen of faking a concert over it.

So the precedent Sixx is invoking is genuine, it’s fifty years old, and it’s about as respectable an origin story as exists in live rock.

Whether Mötley Crüe have stayed on the augmentation side of that line is the part nobody outside the band can verify from a phone video.

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About Those Video Clips

Because this is the evidence most people are actually reacting to.

Footage circulates regularly showing Sixx onstage with his hands apparently off the bass while the bassline continues. For a lot of viewers, that settles it.

John 5 addressed exactly those clips on the Thinking About Guitar podcast in May, and he was direct about it. His explanation: Sixx is often fretting a note with one hand while the other arm is in the air, or picking with one hand while gesturing with the other — and people watching a short clip don’t read that correctly.

He went further, saying every note is played by the band. Nikki plays every note. Tommy plays everything. He plays everything. Vince sings. And he conceded the rest openly: backing vocals on track, sirens pumped in, intros pumped in — but the music performed by the musicians.

You can take that or leave it. But it’s a direct response to the specific thing people point at, and it’s on the record.

The Part That Actually Persuades

And then John 5 said the smallest, best thing in the whole debate.

Nikki messes up. You can hear the mistakes.

That’s the argument. Not the denials, not the Queen comparison, not the manager statements. A tape doesn’t make mistakes. If a bassline is running from a hard drive, it runs clean every night, in every city, forever. Audible errors are the one thing a backing track structurally cannot produce.

It isn’t proof. Somebody determined to disbelieve will say the mistakes are in the parts that aren’t tracked. But of everything anybody in that camp has offered across four years of this, it’s the only argument that engages with how the technology actually works.

Where This Came From

None of this is new, and it hasn’t been quiet.

Mars announced his retirement from touring in October 2022 due to ankylosing spondylitis, with John 5 stepping in — a hire Sixx has since spoken candidly about, including admitting he still feels bad about how it went down with Rob Zombie.

In April 2023, Mars sued in Los Angeles County Superior Court, and his attorneys alleged he was the only member playing 100% live on the 2022 stadium tour, claiming Sixx did not play a single live bass note. The band and manager Allen Kovac rejected that. Sixx called it one of the silliest things he’d ever read, and made the obvious point — if he isn’t playing the bass, who is?

In January 2026, an arbitrator ruled comprehensively for Mötley Crüe, rejecting every argument Mars’s team presented.

And this is now a recurring fight for Sixx. Just six weeks ago we covered him going after Godsmack over the same subject, after backing track accusations reignited a tour feud going back to 2009.

He clearly regards this as an attack on the band rather than a technical question. Given it’s been aimed at him personally for four years, that’s not hard to understand.

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Where It Leaves You

The band’s position is now fully on the record and internally consistent: tracks are used for what can’t be played, the musicians play everything else, and the mistakes are audible because humans are making them.

The counter-position rests on fan footage and a legal claim that was rejected.

Nobody reading this is going to settle it from home. But you’ll be able to check for yourself soon enough — the Carnival Of Sins tour is out on the road right now, marking the band’s 45th anniversary with Tesla and Extreme.

Go and watch his hands.

TL;DR

• What happened: Nikki Sixx answered fan questions on X about Mötley Crüe’s use of backing tracks
• He confirmed the tracks exist — used for orchestras, saxophones and other elements the band can’t reproduce onstage, synced to the live performance
• His origin story: the band took the idea from Queen’s use of tape on “Bohemian Rhapsody”
• His denial: asked why they don’t play 100% live, Sixx said they do, and that anyone claiming otherwise lied
• John 5’s version (May 2026): backing vocals, sirens and intros are on track; all instrumental parts are played by the band; Sixx makes audible mistakes onstage
• The fan footage: John 5 says clips showing Sixx’s hands off the bass are misread — he’s often fretting with one hand while the other is raised
• The legal history: Mars alleged in 2023 that Sixx played no live bass on the 2022 tour. An arbitrator rejected his claims in full in January 2026
• The Queen precedent is genuine — tape has been used for the operatic section of “Bohemian Rhapsody” live since 1975

FAQ

Four years of accusations, one lawsuit, and a fifty-year-old Queen precedent. Have you seen the Crüe live recently — and what did you actually see? Let us know in the comments.

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The post Nikki Sixx Confirms Mötley Crüe Use Backing Tracks But Insists The Band Plays Every Note Live appeared first on Loaded Radio.

It was just announced that Sleep will release their new album, Hempispheres, on September 3rd digitally and on October 30th in physical formats via Third Man Records. Check out the new song “The Morrisist” below.
Read more…

It’s been years since I first encountered the music of South London-born artist JGrrey. Her 2019 EP Ugh was a delightful mix of trip-hop, effortless satiny vocals, and stinging lyricism. JGrrey has continued steadily releasing singles and put out a project titled If Not Now? in 2023. But there hadn’t been any word of the London musician’s debut album until today.

The post JGrrey Announces Debut Album <em>you, me and jen</em>: Hear “bedbug” (Feat. Erick The Architect) appeared first on Stereogum.

– August 6th, 2026 –

US + EU/UK Tour Dates Announced

Photo by Eddy Vazquez

Blacklight Media/Metal Blade Records are pleased to announce the signing of heavy rock power trio HIPPIE DEATH CULT.

The band comments, “We are beyond excited to announce our signing with Blacklight Media and Metal Blade Records, a label that has been a pillar of the metal community for decades and has always championed artistic integrity over trend-chasing, which is something we resonate with deeply. We are honored to be part of their esteemed lineage.

“Our journey has always been fueled by passion, creativity, and authenticity and we feel right at home working with a team who understands and shares these values. We can’t wait to unleash some of our most visceral music to date via one of the most respected labels in heavy metal history. Fires are burning and wheels are turning.”

HIPPIE DEATH CULT has steadily become one of the most exciting bands in the modern heavy music scene, pairing massive riffs, deep grooves, psychedelic textures, thoughtful lyricism, and hypnotizing melodies into a sound that feels both classic and contemporary. Formed in Portland, Oregon, the trio – guitarist Eddie Brnabic, vocalist/bassist Laura Phillips, and drummer Harry Silvers – has earned a reputation for delivering dynamic, emotionally charged songs and electrifying live performances that showcase their distinctive sound, transcending traditional genres and captivating fans worldwide.

Since their early releases with Cursed Tongue Records and Heavy Psych Sounds Records, the band has built significant momentum. Their 2019 debut album, 111, and its 2021 follow-up, Circle Of Days, received strong praise from critics and listeners alike, with both records topping the Doom Charts and numerous “Best Of” lists, solidifying HIPPIE DEATH CULT as a standout name in the underground scene.

Following these releases, the band’s evolution into a power trio marked a turning point, with Laura Phillips stepping into lead vocal duties and infusing even more identity and force into the group’s sound and chemistry. This progression came fully into focus on Helichrysum, the band’s first full-length studio album featuring Phillips on lead vocals. Released in 2023, the album was widely praised for its stronger songwriting, greater dynamic range, and the chemistry of the new lineup, becoming their most successful release to date in terms of streams and sales.

The band supported Helichrysum with over 250 shows across North America and Europe, including performances on major festival stages and headlining spots, further showcasing the raw power and intensity that have made their live shows a must-see.

Now signed to Blacklight Media and Metal Blade Records, HIPPIE DEATH CULT is entering a new phase with the most reach and momentum of their career. With a growing international fanbase, an increasingly refined sound, and a new release on the horizon, the band is poised to take the next leap forward. Stay tuned for a new full-length in 2027.

The band will be roadbound for the remaining weeks of Summer and much of the Fall beginning with a US tour that runs from August 14th through September 12th. HIPPIE DEATH CULT will head to Europe and the United Kingdom on September 30th for another stretch of live dates through November 1st.

“After months of dedicated work behind the scenes, transforming our garage into a creative sanctuary and crafting a new album, we’re pumped to finally hit the road again this Summer and Fall,” the band notes. “This tour is all about reconnecting with our incredible fans across the States and Europe, welcoming new recruits, jamming on some classics, and giving everyone in attendance a chance to be among the first to experience some new material before it hits the streets. We can’t wait to share these transcendent moments with you all!“

See all confirmed dates below.

HIPPIE DEATH CULT Live:
8/14/2026 Mississippi Studios – Portland, OR w/ Abronia **
8/20/2026 Sunset Tavern – Seattle, WA w/ Earth Tongue **
8/21/2026 Silver Moon Brewing – Bend, OR w/ Earth Tongue **
8/22/2026 The Dip – Redding, CA w/ Earth Tongue **
8/23/2026 Rickshaw Stop – San Francisco, CA w/ Earth Tongue **
8/24/2026 Zebulon – Los Angeles, CA w/ Earth Tongue **
8/25/2026 Hotel Congress – Tucson, AZ w/ Earth Tongue **
8/26/2026 Whiskey Creek Zocalo – Arenas Valley, NM **
8/27/2026 Copeka Coffee – Grand Junction, CO **
8/28/2026 Green Mountain Ranch – Pine, CO **
8/29/2026 What’s Left Records – Colorado Springs, CO **
8/31/2026 The Sinkhole – St. Louis, MO **
9/01/2026 Raccoon Motel – Davenport, IA **
9/02/2026 X-Ray Arcade – Cudahy, WI **
9/03/2026 Black Circle Brewing Co. – Indianapolis, IN w/ The Well
9/04/2026 Frankie’s – Toledo, OH w/ The Obsessed
9/05/2026 Reggie’s Music Joint – Chicago, IL w/ The Obsessed
9/06/2026 James Ballentine Uptown VFW Post 246 – Minneapolis, MN w/ The Obsessed
9/08/2026 Reverb – Omaha, NE w/ The Obsessed
9/09/2026 Hi-Dive – Denver, CO w/ The Obsessed
9/10/2026 The DLC – Salt Lake City, UT w/ The Obsessed
9/11/2026 The Shredder – Boise, ID w/ The Obsessed
9/12/2026 The Chainsaw Cat – Yakima, WA **
** HIPPIE DEATH CULT headlining date

EU/UK Tour Dates:
9/30/2026 Scumm – Pescara, IT
10/01/2026 Freakout – Bologna, IT
10/02/2026 MKNŽ – Ilirska Bistrica, SI
10/03/2026 Kino – Ebensee, AT
10/04/2026 Up In Smoke – Pratteln, CH
10/05/2026 Brin De Zinc – Chambery, FR
10/06/2026 Le Molotov – Marseille, FR
10/07/2026 Trinità Live Club – Genova, IT
10/08/2026 Hostaria – Castel D’Ario, IT
10/09/2026 Berchtesgaden – Kuckucksnest, DE
10/10/2026 Kulturfabrik – Kufstein, AT
10/11/2026 Camäleon – Vaduz, LI
10/13/2026 Conne Island – Leipzig, DE
10/14/2026 Sunny Red – Munich, DE
10/16/2026 HPS Fest – Berlin, DE
10/17/2026 HPS Fest – Dresden, DE
10/18/2026 Desertfest – Liege, BE
10/19/2026 1001 Bières – Reims, FR
10/21/2026 TBC – Copenhagen, DK
10/22/2026 Geronimo’s – Stockholm, SE
10/23/2026 Høstsabbat Fest – Oslo, NO
10/24/2026 Kulturscenen – Esbjerg, DK
10/27/2026 Mist Rolling Inn – Nottingham, UK
10/28/2026 Parish – Huddersfield, UK
10/29/2026 Voodoo Daddy’s Showroom – Norwich, UK
10/30/2026 Blondies – London, UK
10/31/2026 Moor Beer – Bristol, UK
11/01/2026 Saturnalia Records – Faversham, UK

https://www.hippiedeathcultband.com
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167 songs spread across 19 core albums recorded between 1974 and 2012. The span of genres ranges from hard blues rock through to majestic progressive, electronica, and synth-heavy, and back to modern heavy rock. Often impossible to categorise, Rush have forged their own path over 40 years and are now back delivering, by all accounts, one of their best ever tours.

Currently two months into their North American schedule, the reviews are fantastic. But what about their catalogue? Well, the boss asked me to pen a Top 20 no less. Give me the impossible job and let’s see how we get on. 

I am going to preface this with a disclaimer. It is an impossible job. I could spend days slotting songs in and out of the list. I could spend hours refining where each track sits in order of placement. But as I am off to Canada and Toronto to catch the band for their first two nights, some things must give. So, in reverse order.

20. The Main Monkey Business – Snakes & Arrows 

They have ample instrumentals, including the monsters YYZ and La Villa Strangiato. But for me, it is the interplay on The Main Monkey Business, from 2007’s Snakes & Arrows, that warrants inclusion in this list. A sublime piece that sprawls across six minutes, it is one of three instrumentals included on their penultimate album.

A band rediscovering their mojo, it reeks of fun and quality.

19. The Necromancer – Caress Of Steel

Included on Caress Of Steel, the album that spawned the Down The Tubes tour in 1975, The Necromancer is a glorious 12 minutes of indulgent progressive rock which features narrative by Neil Peart, alongside some genuinely explorative ’70s hard rock.

It ebbs and flows as the story unfolds, and although By-Tor and the Snow Dog on Fly By Night was their first weighty piece, The Necromancer, which followed a mere six months later, is still a masterful work, with some fantastic explosive guitar work from Alex Lifeson. 

18. Anthem – Fly By Night 

The debut track to feature Neil Peart, Anthem kicks off Fly By Night in style. Although partly written by former drummer John Rutsey before he left the band, Anthem bears Peart’s stamp, with the name and lyrics inspired by the Russian-American writer Ayn Rand, who would have a major influence on the new drummer’s writing for the next few albums.

Still an essential live staple, it really is a statement that Rush was continuing to grow. 

17. Closer To The Heart – A Farewell To The King 

Opening side two of the mighty A Farewell To Kings, this is the first track where Neil collaborated with another writer, namely Peter Talbot, a friend of the group.

The answer to the questions posed in the title track, this has become an instantly recognisable anthem of the band and one that gets the audience on their feet and singing every time.

16. Turn The Page – Hold Your Fire 

Unpopular though Hold Your Fire is in certain quarters, this is an album that holds some gems. My first live Rush show was at Wembley Arena on 29th April 1988. It was the Hold Your Fire tour, so this album naturally holds a dear place in my heart.

Although the album is another dominated by keys and electric drums, there is plenty of guitar lurking underneath the skin, and Geddy Lee’s bass playing on this track is fantastic. Alex contributes a storming lead break whilst the contemporary approach gives it a great hook or two.  

15. The Spirit Of Radio – Permanent Waves 

“Begin the day with a friendly voice”. It is one of their best-known tracks, an ode to the influence and changing state of radio at the time. Beginning with an instantly recognisable riff that Alex wanted to sound like “radio waves bouncing around”, it is another song that really has become an essential inclusion in the band’s setlist.

14. Manhattan Project – Power Windows 

Nestled amongst those Rush albums that I first explored as a teenager, Manhattan Project provided a chilling history lesson. It also features Rush at their finest in terms of the Mid-’80s style.

The song rocks along, led by Geddy’s throbbing bass line, whilst Alex’s guitar adds the necessary flicks. Lyrically, it is amongst Neil’s most biographical, whilst the string section, courtesy of Anne Dudley, is often overlooked. The inclusion of Andy Richards on fretless bass via synth is a rare trivia question.

13. Cygnus X-1 Book II: Hemispheres – Hemispheres 

If you discount The Camera Eye and Natural Science, this is the last real epic track that Rush recorded. Filling side one of Hemispheres, this is a glorious progressive rock workout that followed directly from the conclusion of A Farewell To Kings.

It is majestic in every aspect, with chunky riffs, great vocals and the band working in tandem to provide one of the most brilliant tracks they ever crafted. The story started in Cygnus X-1 concludes with the traveller drawn into the struggle between Apollo and Dionysus.

Hugh Syme’s artwork really does the job here, Bob King’s pose the image of a thousand battle jackets going forward.

12. Jacob’s Ladder – Permanent Waves

Few Rush songs are as dark as Jacob’s Ladder. Described by Robert Telleria in the book Merely Players as “part Heavy Metal, part new age, this song is not about the vision seen by Jacob in the bible but the rather atmospheric phenomena that has been named after the image.”

The band can craft imagery that shines past any biblical reference. Heavy tympani and metallic riffs blend with Geddy’s iconic synth work to create a memorable if sometimes overlooked transition from progressive to contemporary.

11. Headlong Flight – Clockwork Angels 

For many Rush fans, this is a composition of all the band’s styles in seven minutes. It certainly saw the band hit top gear on their final album in 2012. Heavy rock in all its glory, all three members are on top form as they power through a song that is getting real cheers when it hits the 2026 set list.

10. 2112 – 2112

How could we not include the career-saving opus that is 2112? 20:33 of grandiosity. A magnificent folly that ultimately bought the band their musical freedom.

Listen to the parts today, and you will see how beautifully they lock together. A soaring tale based on Ayn Rand’s Anthem, it begins with Hugh Syme’s swirling introduction before the real riffage takes over. A journey that Rush fans never tire of hearing, this is an essential inclusion.

9. Losing It – Signals 

Most prominent thanks to the haunting violin of Ben Mink, Losing It from 1982’s Signals is an emotionally deep song that has become a favourite of many over time. Its slower tempo and perfect composition provide a perfect foil to many of Rush’s higher-paced tracks.

8. Afterimage – Grace Under Pressure 

Few songs have such personal reflections as Afterimage. Based on the loss of Robbie Whelan, a tape operator at Le Studio who died in a car crash, it has significant poignancy following Neil’s passing in 2020.  

7. Ghost Rider – Vapor Trails

The return of Neil in 2003’s Vapor Trails resulted in such emotion amongst Rush fans that I had to add this track to the list. Not only the title of his book, but the biographical charting of how he recovered from such personal tragedy, it is a song that has so much about his journey.

It is also a cracking song with a great riff and hook and Geddy in fine form.

6. Red Sector A – Grace Under Pressure 

“All that we can do is just survive.” The chilling opening line of 1984’s Red Sector A. A massively poignant track for both Alex and Geddy, Neil’s lyrics paint a picture of a piece of history that should haunt the world forever.

It is a brilliant song with Alex’s clipped guitar work riffs over the thick keyboard and controlled drumming. Another I would view as essential.

5. The Pass – Presto

A much-maligned album, Presto has many great songs. None better than The Pass, which Geddy referred to as “some of Neil’s best writing.”

You can hear why. It has got clever lyrics that weave around the bass line that dominates whilst Alex once again adds subtle and perfect guitar work.

4. Red Barchetta – Moving Pictures 

A fantastic tale of evasion and breaking the law, Red Barchetta is one of the heaviest in the Rush catalogue. It is a phenomenal song, which sees the trio in blistering form as they combine to create the story based on A Nice Morning Drive by Richard S Forster. Orwellian in nature, it is a firm favourite that sees air drumming hit maximum levels.  

3. Limelight – Moving Pictures 

Possessing one of Alex’s best solos, Limelight has a feel-good vibe despite the message of anti-hero that runs through it. Instantly recognisable, it is a classic that does not really need much introduction. 

2. The Trees – Hemispheres

Friends of mine think this is a bit twee. For me, it is the first Rush track I ever heard. Sandwiched on Side 1 of Axe Attack Vol 2, a K-Tel Heavy Metal compilation released in 1981, it featured a host of Metal bands including Scorpions, MSG, Iron Maiden and UFO.

It is a brilliant song, a story written in about five minutes by Neil and with a scorching lead break just before the climax to the song. Fantastic and included here as much for the significance of my intro to Rush as anything else. 

1. Witch Hunt – Moving Pictures 

As relevant today as it was in 1981, the message in the fourth song I have included from Moving Pictures is clear. Intolerance and discrimination remain a threat to society.

Although the mob sounds were the band and crew and a bottle of scotch, the significance of the song is clear. Another deeply dark and sinister track, it has always been my favourite Rush song and happily sits at No. 1. 

The post RUSH / 20 Greatest Songs – Ranked! first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Posted on August 6th 2026, 2:43pm

Colin Stetson is a busy man. Earlier this year, the master of tense drone-moan-squawk baritone sax teamed up with fellow avant-garde OGs Greg Fox and Trevor Dunn to release the album Nethering. Next month, Stetson and experimental bagpiper Brìghde Chaimbeul will release their new collaborative LP All The Light In The World. Now Stetson is also one third of 10¹⁷, a new band that also includes Stian Westerhus and Erland Dahlen, two powerhouse musicians from the Norwegian jazz world.

The post 10¹⁷ (Colin Stetson, Stian Westerhus, & Erland Dahlen) Share Debut Single “End This Now” appeared first on Stereogum.

Based in a North London shopping mall, the O2 Islington Academy is a small, no-frills venue with some super-friendly staff. Tonight it is hosting the Outstanding Tour, in support of the Japanese band Lovebites‘ fifth and most adventurous studio album, Outstanding Power, released earlier in the year. Rising from the ashes of their 2019 support slot with Dragonforce, Lovebites are now a well-established and popular Power Metal band.

Lovebites

O2 Academy Islington – 3 August 2026

Words: Sean Titley

Photography: Steve Ritchie

There is no support act tonight, so the crowd are left under darkened purple lighting to admire Haruna’s drum kit as the band complete their European Tour.

What stands out are the unusually large bronze Zildjian cymbals, floating like alien spaceships, above the chrome-plated steel drums and a star-shaped cymbal in the middle of it all, with Lovebites / HARUNA imprinted on it in a circle. 

By the time Lovebites come on, the venue is packed to its 800 capacity, and the assembled fans are cranked up to fever pitch, which contrasts with their entrance. Uncertainly but with confidence, one by one the band emerge from a side curtain, initially seeming surprised to be on stage as the roar for the band erupts.

Swiftly, Haruna takes her seat, and the guitarists, Midori (guitar), Miyako (guitar/keyboard) and Fami (bass) take their positions with Asami (vocals) shouting “Come on London”. 

From here on, the prescription the fans ordered is delivered in spades. Speed, astonishing musicianship, chant-along songs and Japanese Idol style presence, all delivered by a band, dressed in white, looking like a cross between a Swan Lake ballet troupe and a bridal party. 

Kicking off with Castaway, the opening track from their new album, gets the fans singing along. Clearly they are not just here for the old classics but the new ones too. 

Throughout the gig, the band have clearly defined on-stage personas. 

Miyako is all seriousness and focused attention as fast notes and scales, up and down the fretboard, shower the crowd. Midori, alternately smiling and super focused, forms the other half of the guitar maestros.

When they play their harmonised twin guitar duos, which they often do, they are a pair worthy of inclusion alongside Smith/ Murray, Downing/Tipton and probably most aligned with Hansen/Weikath. 

Miyako and Midori are building on the shoulders of giants, with some riffs being very familiar, but they also have unique guitar phraseology with intriguing riffs that take you on new sonic journeys. It is beautiful to hear and a relief that when the classic twin guitar acts leave the stage, these talents are there to carry on the magic. Amongst all this, Miyako can also be seen playing keyboards. Such a talented group.

Fami draws in the eye with an infectious, beaming smile which almost never drops and a honky tonk style performance, settling slightly back from the rest of the band. But when bass takes the lead, the musicianship stands out as much as any of the virtuosic work of Miyako and Midori. 

Guitars are ruling the roost tonight, but this is not to forget Haruna’s pounding, tight, high-energy drumming, which is the powerhouse engine of the machine and is equally intriguing and highly skilled but subordinated to building the sound stage on which the guitars can shine. 

Asami’s voice complements the other instruments perfectly live, and her skill in connecting with the crowd is exceptional. Constantly engaging not just with the upstairs and downstairs of the venue but spotting individuals reacting to their music and copying them and pointing to them to let them know she has seen them, making as many fans as possible have a special, unique moment.

This is all complemented with the usual exhortations to jump, chant and throw devil’s fingers but also some unusual quirks of her own with balletic waves of the arm and forming hearts with her fingers to the crowd. The band connect too, waving and pointing, but Asami has the time, charisma and skill to make all feel included.

Each band member is extraordinarily talented, but together they are more than the sum of their parts. 

The set continues with more songs from their new album, including Blazing Halo, Reapers Lullaby and One Will Remain. 

Asami introduces Reapers Lullaby with “You’re not asleep, are you?” This is an extraordinary song, combining power, Thrash and Black Metal in equal parts, making an instant Speed Metal classic. The band play it with the lighting producing blackened silhouettes, headbanging all the way. 

The crowd react accordingly, although the night is remarkable for a lack of mosh or circle pits. I am at a loss to explain this, as songs like MDO and Reapers Lullaby in particular are built for total mayhem.

That is not to say the fans do not react energetically. They do, punching the air and shouting along. Possibly it was just too packed in the centre, but I’ve never seen this stop a mob before. Maybe Asami simply needs to tell the pit to pit. 

Lovebites now have a full set of classics from their career. All go down a storm, with Liar standing out when the three guitarists play together front of stage with a triple guitar medley. You have to include MDO, with its tearing intensity and repeated chant sung by each member of the band in turn, and Stand and Deliver played as a funky, sing-along song, in this classic list too.

The night ends with a medley of the three most poignant songs of the set, One Will Remain, When Destinies Align, and We the United, binding the crowd together and all beaming with joy.

Tonight was a combination of kawaii (cute) and kakkoii (cool, stylish, badass) in a performance combined with phenomenal musicianship. 

BABYMETAL blew the doors off for Japanese Metal acts. But Lovebites might just be the greatest band from the wave of Japanese Metal that is crashing onto UK shores.

The post Lovebites / Outstanding Power And Phenomenal Musicianship Hits O2 Islington Academy first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

You did it! You participated in the democratic process! Now that you’ve all cast your ballots and we’ve counted them, we at Stereogum are happy to reveal the results of our annual Song Of The Summer readers’ poll. Below, check out the top 10 vote-getters, revealed, quite suspensefully, from 10 to 1. Then stick around to stream these tracks in handy playlist form. Enjoy, and we’ll catch y’all back here at Gummys time.

The post Here’s Your Song Of The Summer 2026 appeared first on Stereogum.

According to the internet, which never lies, there are nine species of snakes that call Saskatchewan home. Only one of them is venomous — the Prairie Rattlesnake — and none of them are pythons. So, you’d have to ask the members of this Saskatoon death/thrash/groove quintet the story behind the moniker they settled on back when they originally formed in 2015; if there’s a compelling, reptile-related tale, or if they’re actually computer nerds making reference to writing code. Whatever the case, Pythonic have a brand new EP, entitled Laws of Karma, that’s been out and available for about a month now. The five song release tackles a variety of topics including the state of the world and mankind, “the band’s collective struggles with disability, surgery, abusive relationships, fractured identity and karmic reckoning,” as well as vocalist Morgan Warriner dealing with a period of “physical recovery and emotional hardship.”

However, as former Saskatoon resident and long time Decibel correspondent Adrien Begrand will tell you, it’s not all doom and gloom in ol’ Saskabush. Laws of Karma may teem with darkness and despair, but Pythonic still know how to turn frowns upside down, as evidenced in their new video for “Set You Free,” which we are premiering today. Witness the charmingly sweet (literally!) backdrop and balloon animals in the pit taking whatever small amount of the edge off the serious subject matter guitarist Vincent Kohut. describes: “’Set You Free’ came out as an absolute banger of a track when we were recording it! Once we were doing our initial test mixes, we figured it needed to be one of the singles off the EP for sure. We definitely put in a lot of extra effort on this track, re-tracking parts to make them hit just right and re-doing vocals to hit the perfect disgusting sounds we needed. The track itself being about the controversial hereticism that is found in large organised religions, we knew it needed to come off sounding just as disgusting as the subject matter.

“After some talks with Shadowscape Pictures, it ended up being the track we also did a music video for. They were coming to shoot our live set in Edmonton on June 6th, 2026, so we thought it would be sweet to get a live video made up from that show. The other song we considered was the first single, ‘Sentience,’ but ‘Set You Free’ won the spot for just being heavier and more anthemic. Working with Shadowscape was an awesome experience. They really know what they are doing when it comes to shooting and editing videos; it turned out way better than we could have imagined. We highly recommend their work!”

Check out the band’s work via the video and links

Bandcamp

Facebook

Instagram

Tidal

The post Video Premiere: Pythonic “Set You Free” with Pit-Bound Balloon Animals appeared first on Decibel Magazine.